For Driscoll, the challenge of Ghost of Stone lay in reducing the glass block so nothing chipped off, obtaining the right geometries. The first issue for Rock in Full Metal Jacket was to determine and source the right material. «Volcanic rock, which is usually used as a landscaping boulder, is extremely soft» he said. «Because it's light, not dense, and highly porous, the molten aluminium could flow inside it. The second problem was that it was very quick to mill». Both Clark and Driscoll knew that putting Cristina Parren᷉o’s vision and unique concepts into practice would demand the utmost attention to detail. A licensed architect in both Spain and the U.K., Parren᷉o's research in TransTectonics at M.I.T. explores non-conventional combinations of materials using small prototypes, later transformed into larger scales and contexts to become architectural installations that enrich public areas.
«The concept behind this exhibition of 12x12x12 prototypes is extremely relevant for architecture» said Parreño. «It's a way of working with interesting materials, digital technology and highly advanced machines, but at the same time incorporating a time-honoured trade and the old ways of working with materials». Anyone who attends the exhibition will see how each of Parreño’s pieces clearly stretches the limits of innovation in design research. Diamut and Biesse Group show similar intensity in pushing the limits of technology to deliver tooling and automation solutions to commercial labs working with glass, stone and other materials.
Projects often involve many technical and artistic challenges. To all intents and purposes, every project that comes through the door really is a work of art for us