FABRICATING POTENTIALS DIGITAL FABRICATION STUDIO IOWA STATE UNIVERSITY SPRING 2016
the site & the team
As an interdisciplinary studio consisting of 16 students from architecture, industrial design, and interior design backgrounds, we will conduct outreach through experimental design and construction in the public sphere. Our challenge is to create a temporary pavilion for the 80/35 Music Festival set to occur July of 2016 in Des Moines, Iowa. Work will begin in January of 2016 and will continue throughout the 2016 Spring semester. Students will design, develop, prototype, and construct a 10’x20’x15’ pavilion in studio with the intention of a final build on site at the 80/35 festival. The team will explore the potentials of digital prototyping, interaction, and construction within their design process, utilizing parametric modeling techniques through digital platforms such as Rhinoceros and Grasshopper. The studio is part of a larger effort to position the Department of Architecture at Iowa State University as a leader in digital computation and fabrication methods. A special thanks to OPN Architects, the 80/35 festival, and Iowa State University for their support and funding for the project.
CONTENTS
RESEARCH|02 26|DEVELOPMENT CONSTRUCTION|50 72|PAVILION
FABRICATING POTENTIALS RESEARCH
the research
Our sixteen person, interdisciplinary studio began to identify the issues faced in the creation of a construction-sensitive temporary pavilion with a phase of research and analysis. Exploration into experimentive temporary pavilions and constructiuons began with a study of MoMA’s PS1 competition submissions. Examples of innovative public engagement strategies, construction techniques, and reuse strategies created a base knowledge which we could draw from throughout the design process. Questions about the purpose and impact of temporary structures were explored through the studio book, Pavilions, Pop-Ups, and Parasols by Leon Van Schaik & Fleur Watson. Goals for innovation in digital design, public engagement, and plausible reuse strategies were formulated and began to emerge during this stage. Additional research began to push into the realms of digital design and interactive technologies. First hand experience of festival culture and temporary public space was achieved through a trip to New Orleans and the Hogs for the Cause festival. The studio’s research aligns with Iowa State University’s Department of Architecture’s goal of becoming a leader in digital computation and fabrication methods.
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MoMA PS1 From Dunescape to COSMO, MoMA’s PS1 Pavilions have promoted innovation in the way architects design and construct temporary public spaces.
citation | momaps1.org
The Museum of Modern Art and MoMA PS1 jointly present the MoMA PS1 Young Architects Program (YAP), an annual series of competitions that gives emerging architects the opportunity to build projects conceived for MoMA PS1’s facility in Long Island City, Queens. Established in 2000, the Young Architects Program was designed to solidify the affiliation between The Museum of Modern Art and MoMA PS1. Glenn Lowry, Director of The Museum of Modern Art stated, “[MoMA PS1] furthers our curatorial mission, identifying and providing an outlet for emerging young talent, it aims to give something back to the community that has been so supportive of us.” The objective of the project is to provide visitors with an outdoor recreational area for the summer-a much-needed refuge in an urban environment-making the best use of the pre-existing space. The architects follow a program with a tight budget, and are involved in every aspect of the design, development, and construction of the project. The site, MoMA PS1’s large triangular entrance courtyard and outdoor sculpture area, is an integral part of the museum’s popular music concert series, Warm Up, which features experimental music, live bands, and DJs. The site is open to visitors throughout the summer. To choose an architect for this project, deans of architecture schools and the editors of architecture publications nominate some twenty students, recent architectural school graduates, and established architects experimenting with new styles or techniques. The group is asked to submit portfolios of their work for review by a panel comprised of Mr. Lowry, MoMA PS1 Director Klaus Biesenbach, and a host of experts in the art and architecture community. The panel selects three finalists who are invited to make preliminary proposals for the designated site; the chosen winner is announced in February.
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2015 COSMO by Andres Jaque/ Office for Political Innovation 2014 Hy-Fi by The Living 2013 Party Wall by CODA 2012 Wendy by HWKN 2011 Holding Pattern by Interboro Partners 2010 Pole Dance by Solid Objectives-Idenburg Liu 2009 afterparty by MOS 2008 P.F.1. (Public Farm One) by WORK Architecture Company 2007 Liquid Sky by Ball-Nogues 2006 BEATFUSE! by OBRA 2005 SUR by Xefirotarch 2004 Canopy by nARCHITECTS 2003 Light-Wing by Tom Wiscombe of EMERGENT 2002 Urban Beach by William E. Massie 2001 subWAVE by ROY 2000 Dunescape by SHoP 1999 Philip Johnson
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dunescape | 2000
Dunescape by SHoP Architects (2000) SHoP Architects creates an installation that is dynamic in both appearance and functionality. Dunescape as a precedent enables a greater understanding of how having a clear purpose behind the form of a structure enables a comphrensive design. The purpose is directly aimed at benefitting those who use the space. By designing a pavilion that takes more than one purpose into consideration (ie. comfort, social aspects, shading, etc.), the overall product is more likely to be a success. The fact that each component of the structure is modeled and cataloged digitally is also pertinent to our studio . By understanding the purpose that we intend for our pavilion, we are likely to create a design that excells in both appearance and functionality. 7 FABRICATING POTENTIALS
Wendy exemplifies everything that can come from testing the boundaries of architectural design. As a firm that strives to continuously push the limits of architecture, the firm helps set forth ideals about how testing the limits already set forth in the discipline can result in proactive means of thinking about architectural forms and space. Wendy shows us that having a radical set of ideals can push the design process forward and allow for a comprehensive design solution that takes into account social and contextual conditions as well as public engagement and influence on a space. The use of a gridded construction pattern to create a complex form, as well as the integration of lighting and digital interaction are ideas that we can reference in the development of our own pavilion.
Wendy by HWKN (2012)
party wall | 2013
Party Wall by CODA (2013) The strongest elements of this design involved the recycling of a common material and the way in which the installation engaged with the site. CODA was able to connect the project to a specific location and give it a strong identity. There were multiple elements that engaged the public and the surrounding space. Unique environments and experiences were created through a one wall system. The structural framework of the wall, in which panels of a certain material were attached, could be something that we take into consideration as well as the modularity of the system which allowed for ease of construction and transport. Creating a single surface and utilizing voids in the form to add areas of discovery and interaction fit our interests moving forward.
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COSMO’s suspended canopy purifies water and then utilizes it to grow various plants as well as to cool down pedestrians walking by the structure. These plants as well as smaller components of the filtration system can then be distributed throughout the communtiy as a reminder of COSMO’s function while increasing knowledge about water scarcity and the purification process. Our pavilion may become a deconstructable module which can be distributed after the festival to act as a momento or possibly serve a didactic purpose.Concepts proposed such as COS community outreach and beautification are applicable to our pavilion.
COSMO by Andres Jaque / Office for Political Innovation (2016)
POP-UP + PAVILION Key questions derived from Pavilions, Pop-Ups, and Parasols by Leon Van Schaik & Fleur Watson
Should pavilions predetermine their use or should they afford flexibility for a user? Does a pavilion need a function, a specific aesthetic, or market? What is the contemporary role of a pop-up? Are pop-ups enabling innovation in architecture or are they parasitical structures? How might virtual spaces be made more tangible as spatial environments for exchange? What are ways in which we can derive a meaningful form (construction innovation, site context, etc)? Can short term pavilion designs trigger long term social change?
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Pavilions, Pop-Ups, and Parasols
DIGITAL TECHNOLOGY Exploring the potentials of interactive, technology-based design such as kinetic structures, projection mapping, and LED lighting.
kinetic wall | 2014
Kinetic Structures Kinetic Wall by Barkow & Leibinger (2014) Designed for the Elements of Architecture exhibition at Rem Koolhaas’s 2014 Venice Biennale, this project explores the idea of kinetic motion in architecture. A simple wooden space frame houses the mechanical equipment that powers the actuators and acts as a mounting surface for the elastic synthetic fabric. The actuators are mounted to the surface of the fabric & distort the elastic surface to change the spatial condition of the site in which the wall is placed.
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Projection Mapping
Sydney Opera House (2012) Projection mapping technology is the use of motion graphics to create an exterior or interior condition that appears to come alive with animated forms, tranforming any built surface into a dynamic construction. Projections are often mapped to fit the geometry of a building or other construction. All you need are a series of (or just one) projectors and a surface on which to project and any of a wide variety of digital programs to create the mapping. The images below show a series of projections onto the Sydney Opera House as part of a yearly art initiative. FABRICATING POTENTIALS 18
Textile Pavilion by P-A-T-T-E-R-N-S (2014) The apperance of an ever-changing textile fabric was achieved by the designer through an intricate projection mapping onto translucent carbon tubing streched between steel frames.
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Interactive Lighting + LED Fields Sonia Falcone Lighting Installation (2010) Falcone created a series of video animations which began only when a person stepped near enough to the array of flat-faced columns.
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Water Light Graffiti by Antonin Fourneau (2012) Water Light Graffiti is an interactive surface composed of thousands of LEDs which are able to be illuminated by the contact of water (water produces an electrical charge which briefly lights the led). A user is able to change the surface with a wet paintbrush, a water atomizer, spraycan, or even their fingers.
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Swarm Light by Random International (2010) Swarm Light consists of a programmable field of LED lights which are activated by both motion and audio sensors. In addition, the LED field can be choreographed based on the intent of the designer.
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TRAVEL
Experiencing festival culture in New Orleans, specifically through attending the Hogs for the Cause event, helped add to our knowledge of public events and engagement.
city park, new orleans
Hogs for the Cause Hogs for the Cause is a non-profit, annual fundraising barbecue competition and music festival that raises money for families with children fighting pediatric brain cancer. We raise money through ticket sales, direct donations, food sales, sponsorships, and fundraising efforts spearheaded by teams in the barbecue competition.
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Every year, more teams (90 at last count) compete in the Ben Sarrat, Jr. Cook Off Presented by Children’s Hospital of New Orleans for the High on the Hog Grand Champion title. The competition is fierce, and the winners claim bragging rights not only in barbecue mastery, but more importantly, fundraising prowess. Teams are a motley mix of some of the region’s best chefs, professional barbecue teams from around the country, and backyard barbecue fanatics, and all teams sell food to the public to raise money for the Cause. Winners are declared in seven categories: Whole Hog, Ribs, Pork Butt/Shoulder, Porkpourri, Sauce, Fan Favorite, and Fundraising Champion.
BBQ + Public Engagement
FABRICATING POTENTIALS DEVELOPMENT
initial proposals
In conjunction with the initial phase of research, the process of designing an interactive pavilion for the 80/35 Festival began with a series of massing studies. Through these studies, the interdisciplinary team attempted to understand restraints dictated by the project such as scale, scope, and means of construction. A repetitive sequence of iteration, review, and refinement followed, with students concurrently expanding their knowledge of digital interaction technologies. Design proposals became increasingly rigorous as teams began to utilize digital tools to understand material usage, predict construction time, and calculate budget. As the development phase progressed, major design themes relating to transportation and constructability began to emerge. The use of a modular structural system to organize and ultimately optimize construction was agreed upon. As was the desire to integrate some form of digital interaction. The efforts put forth by the studio throughout this process allowed the team to further understand the conneciton between physical and digital fabrications and coincided with Iowa State University’s Department of Architecture’s goal of becoming a leader in digital computation and fabrication methods.
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10’x 20’
Initial design responses to fit within the bounds of the site were proposed through a series of 1/4” scale models focused on demonstrating scale, form, and constructability.
REPETITIVE PANELS An open plan can accommodate various programs and installations. DUAL WALLS Walls are composed of panels that could move or rotate. SINGLE SURFACE A continous form provides seating, shade, and interaction. ARROW As you move between layers the form reveals itself. HOUSE OF WALLS A passage that reveals and than conceals. WOOD LEGS The pavilion focuses on the idea of modularity and assembly. FRAGMENTS Space is created using a series of vertical elements. WIND CHIMES Extrusions in the form could become interactive components. LANDSCAPES A series of steps for sitting, relaxing and other human interactions. CENTRAL PIVOT Seating could be stored within the structure. EXPOSED COPPER At each angle the model appears different. WAVES Light becomes distorted and casts interesting shadows below. MIRRORED FORMS The design can combine a set of repeated forms. FOLDED SIMPLICITY A single form folds itself inward to shape an enclosed space. MESH A wall provides shade and acts as a barrier. HELIX Geometric shapes are arranged to create dynamic movement. 29 FABRICATING POTENTIALS
TECHNOLOGY + DIGITAL INTERACTION
Initial considerations of the physical interaction that could occur between the user and the space included mobile panel systems and versatile seating. These two means of physical interaction would allow the user to define the space. Whether they needed a place to sit, a place to set down their drink, or a means of shading, the mobile panels would allow for individualized levels of comfort throughout the length of the festival.
connecting digtal & physical
The studio’s overall desire is to create a pavilion that bridges the physical and digital divide through interaction. All in order to create an atmosphere of fun, relaxation, interaction, and play. The pavilion is intended to provide a digital node for interaction within the context of the festival, creating a safe, fun, and memorable area at which people will associate their experience of 80/35.
Multiple design strategies for utilizing digital interaction were proposed to add an interactive element to the pavilion. Lighting became of interest in several proposals in which the user directly interacts and affects the lighting conditions both within and outside of the pavilion. As the user moves through the space, various lighting conditions could occur to transform the pavilion from a stationary structure to something that highlights the dynamic characteristics of the festival. With the 80/35 festival being such a highly sensory atmosphere, a digitally controlled set of interactions would allow the pavilion to resonate with users and fit the context of the concert. In addition, the majority of the festival will be held during the evening, thus lighting and projection became a focus moving forward. Digitial implications of the pavilion were further investigated through means of broadcasting and social media.
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technology workflow
SENSING HARDWARE
anemometer
thermo
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motion
sound
SOFTWARE
CONTROLLING SOFTWARE
projection
motion
sound
light
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interactive lighting + branding
mobile panel systems
projection surfaces
motion responsive structures
PRAGMATICS New proposals were developed after learning more about the site, resources available, budget, and interactive technologies.
wood + rope
Wood + Rope The design proposal focuses itself around user interaction. Utilizing an unconventional material like rope the pavilion is formed of blocks that begin to filter the exterior environment instead of blocking it out all together. The blocks change in their orientation to add dimension to the space and are sized so as to fit to the human scale whilst sitting, standing, and interaction. This creates a pavilion that can be formed by the people as they are able to manipulate the composition of the pavilion itself. On the street side of the pavilion is a collective surface comprised of individual pieces of rope. These ropes create a unique shading structure and are monitored by motion sensors which are triggered by movement. The manipulation of the rope creates an interactive lighting display within the modular structure of the pavilion. This creates an instrument of light out of the pavilion in which people can engage with. 39 FABRICATING POTENTIALS
This pavilion is reactionary and not static. It provides transformable space to meet the needs of multiple users at different times. This space provides small gathering spaces within a larger pavilion. The pavilion itself is shaped and modified through the people who experience it. The light wall on the solid surface responds directly to the movement of people through the space and the sections of the pavilion can be moved to fit the needs of the users at the festival and Iowa State’s campus. This pavilion has both a physical and a digital interaction. The light wall shows advancements in technology while each module gives the users the freedom to adjust the space to meet their needs.
Ephemeral Architecture
Cloud
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The CLOUD concept uses pneumatically inflated surface that acts as a canopy in the daylight, and uses computer-controlled lighting at night to create the illusion of a floating cloud. Large balloons would be controlled by user interaction via a mechanical wheel mounted to each column. Seating is wrapped around the base of each column and could double as weighted supports for the base. The act of raising the core of the pavilion overhead allows the usable area at ground level to be maximized, and uses LEDs and projection mapping to turn the surface of the Cloud into a beacon for the entire festival. This concept explores the idea of using the pavilion as a broadcasting device, wherein the human activity under the canopy is visible to people inside the gates of the concert. Tracking and interpreting movement inside of the pavilion offers the opportunity to generate lighting effects in real time and to live stream media.
Light Field’s form is a meant as a reference to the repetition of Iowa’s many cornfields. The design is formed with clear PVC tubes secured to a base plate in a vertical position, with the base plate acting as a cover for all electronics as well as a platform to sit or stand on. The ends of the tubes could also be used to level out the pavilion if the installation site is uneven. The vertical tubes divide the pavilion into a range public and private spaces, and would be illuminated from below at night, ideally being controlled by an audio sensor to respond to the live sounds of the surrounding concert. The platform would act as a dancefloor and increase interaction among concert-goers. The patterning at the top of each row of PVC pipes could be cut to the profile of the numbers 80 & 35 to act as a welcome and gathering piece as well.
Light Field
MODULAR SYSTEMS Multiple proposals began to feature modules; implemented to solve the problems brought about by the build constraints and transportability inherent to the project.
“Cubic modules can be used as a scaffold to create a complex surface” “Multiple squares can be attached to each other to create connectable modules” “The entire system can be built out of a series of similar shaped modules varying in scale” “The modules can be built into flat stacks and transported to the festival” “Stacks of modules can be connected together and rotated into the desired shape”
ATMOSPHERIC INTEGRATION
To fit the context of the music festival and appeal to concert-goers, strategies for digital interaction and social media were proposed within the context of modular systems.
cloud canopy
#cloud canopy Mixmaster acts as an interactive node within the 80/35 festival which offers a range of seating options and social interactions. The design is formed from a similar square module which can be built into stacks and transported in flat sections. The stacks can then be combined together on site to make twhe final form, which is an abstraction of the intersection of highways 80 and 35 which the festival is named after.
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#pop|pod The one, three and five person PODs offer seclusion from the surrounding environment. Open stools placed outside of the PODs also allow for quick stop and go for relaxation. When entering each POD, a unique interaction occurs. When vacant, the POD is dark (dead), but as soon as someone steps inside, the structure instantly lights up, establishing occupancy. The lights will pulse, thereby bringing the PODs to life.
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#light arboretum This Pavilion emulates nature’s layers through a minimalistic and modern approach. A module system was designed to form the pavilion in its entirety. The Light Arboretum offers shading and seating during the day, a retreat for the public from the sun and heat. At night the canopy transforms into a light sculpture that changes in colors throughout the night hours. The lighting effect matches the vibrant atmosphere of the 80/35 festival.
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#mixmaster Mixmaster acts as an interactive node within the 80/35 festival offering a range of seating options and social interactions. The design is formed from a similar square module which can be built into stacks and transported in flat sections. The stacks can then be combined together on site to make the final form, which is an abstraction of the intersection of highways 80 and 35 which the festival is named after.
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CONNECTIONS After deciding on a cubic-shaped module, variations of potential construction techniques were developed and prototyped
sliding corner joint
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solid dovetail corner
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FABRICATING POTENTIALS CONSTRUCTION
prototyping & construction
Taking into account the logistical issues involved in designing, transporting, and building a temporary pavilion in Des Moines for the 80/35 summer music festival, the interdisciplanary project team decided upon the creation of a cubic-shaped modular system to organize and simplify the fabrication and consruction processes. Proposals inclusive of form, fabrication, material, assembly, and cost were introduced and modified in an attempt to respond to the unique demands of the project. Modular connection types using multiple hardware and material options were prototyped along with studies of potential panelization systems. The integration of interactive platforms such as LED lighting and projection mapping continued to be a consideration as well. Much of the design work was accomplished through repetitive digital iterations which informed refined physical prototypes, consistent with Iowa State University’s Department of Architecture’s goal of becoming a leader in digital computation and fabrication methods.
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COMPONENTS + PROCESSING A search for integrating appropriate materials and interactive installations into the modular system were explored.
plywood panels
bolts & washers
turnbuckle cable
wiring
projector
interaction
LED strip
tyvek
mirror
panelization
plywood
modules
structure
Structure 1/2” Plywood To fit the bed of our CNC machine, each of the 180 4’x8’ sheets of plywood needed to be cut down into 2’x3’ sections. 1/2” pine plywood was chosen after consulting budget and time obligations. In the meantime, using Grasshopper and Rhiono, the unique shape of each box was prepared and labeled for cutting and construction. Each box was labeled so its specific location within the pavilion’s structure would be apparent. The boxes were also designed with tabs in each corner, enabling each side of the box to be formed at the correct angle. After cutting down the sheets to the correct size, digital files consisting of cutting paths for each individual box were sent to the CNC machine, and the resulting pieces were then ready to be assembled. Boxes were assembled using wood glue and a brad nailer.
Hardware To connect each module into stacks and eventually rows, approximately 2,500 5/16” bolts, washers, and hex nuts were bought to secure each connection. These bolted connections were used to secure the structure in both vertical and horizontal directions. In addition, leveling feet were added at the bottom of the structure to account for the small slope on the site. These feet also create a 4” reveal at the base and prevent the boxes from sitting on the pavement, and potentially, water.
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module fabrication process
projection prototypes
Interaction Projection Mapping PROJECTION MAPPING SOFTWARE AND LOGISTICS
PROCESS,
WHAT TYPE OF PROJECTOR?
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LED hardware
LEDs LED PRODUCT AND USE WRITEUP
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Panelization Tyvek Tyvek速 brand protective material is a family of tough, durable spunbonded olefin sheet products that are stronger than paper and more cost-effective and versatile than fabrics. Tyvek速 has a higher strength-to-weight ratio than paper, absorbs little or no moisture, is strong and rip-resistant, and is made of environmentally responsible material. Both bright white and silky smooth, Tyvek速 has a distinctive look and feel that enhances graphic images and instantly sets it apart from all other materials.
Mirrored Surfaces MIRRORED SURFACE PRODUCT SUMMARY AND PURCHASE SUMMARY
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tyvek cutting
FABRICATION TECHNIQUES Machinery such as a CNC, vinyl cutter, and soldering irons were fed by digital files to produce different facets of the pavilion.
CAMaster Stinger 1 CNC
CNC The Stinger I CNC Router is the most robust bench top on the market. Built with the same principles as its counter parts, the Stinger I is a tool that is budget and size friendly, but is rigid and flexible enough to be implemented in a production environment. The Stinger I is constructed on a welded steel frame and enlist industrial quality Hiwin rails and bearings, giving it a rigid yet smooth movement. The Stinger I is shipped completely built and tested from our facility in Cartersville, Georgia USA Each Stinger comes with a control PC that runs Windows 7 PRO and has a 19� flat panel monitor. This control PC is preloaded with WinCNC and is tested with the machine it will be shipped with. The Stinger also comes with Vectric’s CUT 2D design software making it a truly turnkey solution.
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Translating the main stuctural components from digital to physical with the help of Rhino, Grasshopper, and a CNC machine. GRASSHOPPER DEFINITION AND TRANSLATION TO CNC, BOX FORMS
Digital Process
LED coding + power test
Soldering SOLDERING PROCESS
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CODING AND IMPLEMENTATION AND WIRING
Arduino/Raspberry Pi (Coding)
Vinyl Cutter VinylMaster Cut is equipped to provide precise contour cutting whether your machine works with LAPOS (Laser Positioning Sensor) for manual contour cutting or ARMS (Automatic Registration Mark Sensor) for automatic contour cutting. Contour cutting, cutting the outline around a printed image, is perfected with VinylMaster Cut for applications like stickers and custom printed labels. The GUI that VinylMaster Cut offers provides you with diagrams to preview and modify before completing your contour cuts. This preview will even assist you in loading your media into your cutter correctly. VinylMaster Cut has an advanced feature to allow for sensitivity control over your cutters optical eye when using the ARMS feature. This feature ensures that your registration marks can be read when cutting matte, gloss, laminated or even reflective material.
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FACES FROM GRASSHOPPER/RHINO TO CUTTER
Digital Process
CATALOG + LABEL
0
1
2
3
0
4
5
6
1
2
7
3
A system for labeling components throughout the structure was developed through Grasshopper to help coordinate installation between structural modules, paneling, and LEDs.
1 2 3
6
2
3 1
6
5 7
4
0 1 0
2 3
2 5
3
4
7
6
1
0 0
1
MODULE ASSEMBLY
Connect tabs 0 and 3 to side piece 3 and tabs 1 and 2 to side piece 1 Wood glue all tabs in place and let dry Connect tabs 0 and 1 to bottom piece 0 Connect tabs 2 and 3 to top piece 2 Brad nail all connections Install LED strips and back support between all boxes
STEP 1 STEP 2 STEP 3 STEP 4 STEP 5 STEP 6
IMAGE OF ENTIRE ST
TRUCTURE WITH LABELS
CONSTRUCTION PROCESS Construction progressed in stages for all facets of the design.
LED chain
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box assembly
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FABRICATING POTENTIALS PAVILION
the pavilion
PAVILION PROJECT DESCRIPTION - PROBABLY FORM NATE GOES HERE
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FORM FINDING
The pavilion’s form was influenced by experimental sections and then optimized digitally to be freestanding and free of any complex geometry and double-curved surfaces.
connecting digtal & physical
TEXT FROM KYLE ABOUT GRASSHOPPER FORM AND OPTIMIZATION, PANELING, STRUCTURAL, ETC
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DISCOVER
INTERACT
PLAY
MINGLE
RELAX
YOGA
panelization 11 FABRICATING POTENTIALS
structure FABRICATING POTENTIALS 2
FESTIVAL LOGISTICS
DIAGRAMS Diagramming...
Structure
Environmental
Interaction
FINAL IMAGES Images...
THE STUDIO
STUDIO SUMMARY AND FINAL PRODUCT, LESSONS, LEARNED, ETC A special thanks to OPN Architects, the 80/35 festival, and Iowa State University for their support and funding for the project.
Architecture Alexandra Abreu Donnie Hull Shaohua Dong Bryan Johnson Joshua Neff Kelsie Stopak Nathan Peters Rahul Attraya Cole Davis Kaitlin Izer Coralis Rodriguez Kyle Vansice Industrial Design Tom Bos Interior Design Nikki Behnke Hannah Greenfield Makaela Jimmerson Professor Shelby Doyle
80 35 broadcast8035.wordpress.com