I OWA STAT E U N I V E R S I T Y FA B R I C AT I N G P OT E N T I A L S 2 0 1 7
IM_RU
6 ARCHITECTURE 5 INTERIOR 4 LANDSCAPE ARCHITECTURE 15 CREATIVELY DIVERSE STUDENTS INTENSE RESEARCH RAPID IDEATION INTEGRATED TECHNOLOGY
1 PAVILION ANTOINE PICON DESCRIBES IN DIGITAL CULTURE (2010) THAT THE DEVELOPMENT OF DIGITAL TECHNOLOGIES HAS RESHAPED OUR EXPERIENCE OF THE PHYSICAL WORLD. IN THIS AUGMENTED AND HYBRIDIZED CONDITION, INFORMATION (AND ARCHITECTURE) HAS NO SOCIAL RELEVANCE UNLESS CIRCULATED, SHARED, AND INTEGRATED INTO EVERYDAY LIFE THROUGH INTERFACES BETWEEN THE DIGITAL AND PHYSICAL. INTERFACE REQUIRES ARCHITECTURE TO MATERIALIZE THE DIGITAL IN NEW AND UNFORESEEN WAYS. STUDIO IS TO DESIGN AND CONSTRUCT A TEMPORARY STRUCTURE WHICH PROPOSES AN INTERFACE BETWEEN DIGITAL AND PHYSICAL SPACE. TEMPORARY STRUCTURES ARE
IM_RU’S
STUDIO
A BROAD FIELD AND CAN INCLUDE EVERYTHING FROM UBIQUITOUS CONCRETE FORM-WORKS TO INNOVATIVE EMERGENCY HOUSING. METHODS WILL INCLUDE 3D PRINTING, CNC ROUTING, PROJECTION. THROUGH
INTERACTIVE
PROTOTYPING, FULL SCALE MOCK UPS, AND DIGITAL FABRICATION,
THE POTENTIAL OF INTEGRATING COMPUTATION INTO CONSTRUCTION WILL BE EXPLORED.
AUSTIN DEMERS
BROOKLYN FENCHEL
ERIN HUNT
BILLY PAUSBACK
ARCHITECTURE 2018
INTERIOR DESIGN 2017
ARCHITECTURE 2017
LANDSCAPE ARCH. 2017
SLACKER OR
ORANGE JUICE OR
MAC OR PC?
CRUSHED ICE OR
OVER- ACHIEVER?
APPLE JUICE?
ANSWER:
CUBED ICE?
ANSWER:
ANSWER:
MAC.
ANSWER:
THAT’S A TOUGH ONE
DOES IT HAVE PULP?
JOSH COBLER
KALE BAHNE PAULSEN
NICK DENTAMARO
ALEXA BARR
ARCHITECTURE 2018
ARCHITECTURE 2018
LANDSCAPE ARCH. 2017
INTERIOR DESIGN 2017
HONEY MUSTARD
TATTOO OR PIERCING?
SUNRISE OR SUNSET?
COMEDY OR MYSTERY?
OR BBQ SAUCE?
ANSWER:
ANSWER:
ANSWER:
ANSWER:
PIERCINGS, BUT THAT
SUNRISES
COMEDY
BBQ
WILL CHANGE SOON
JENNA STRASSER
MARIA NOVACEK
SANDY LIAO
CASSIE COOK
INTERIOR DESIGN 2017
LANDSCAPE ARCH. 2017
ARCHITECTURE 2017
INTERIOR DESIGN 2017
PANCAKE OR WAFFLE?
RURAL OR URBAN?
CHOCOLATE OR
LEATHER OR DENIM?
ANSWER:
ANSWER:
VANILLA?
ANSWER:
CAN’T WAIT TO GET A
WHY CHOOSE? I AM
ANSWER:
ALL OF THE ABOVE!
MOUTHFUL!
BOTH
CAN I HAVE BOTH?
JAKE OSWALD
JAEHEE HWANG
JOELLE SWANSON
SHELBY DOYLE
LANDSCAPE ARCH. 2017
ARCHITECTURE 2017
INTERIOR DESIGN 2017
PROFESSOR
TO BE OR NOT TO BE?
COFFEE OR TEA?
DANCING OR SINGING?
ONE OR TWO SLICES
ANSWER:
ANSWER:
ANSWER:
OF TOAST?
WHAT THE HECK DOES
CAFFEINE PLEASE!
AM I ALLOWED TO SAY
ANSWER:
BOTH?
TWO SLICES!
THAT MEAN?
IM_RU’S
CREW
CUBED
IM_RU’S
TIMELINE
07-10
FLYOVER FASHION FEST
11-18
FASHION METHODOLOGY
19-26
MOMA PS1 CASE STUDIES
27-60
EXPLORATION
61-68
FINAL PROPOSAL
69-80
IM_RU FINAL ITERATION
81-90
IM_RU COMPONENTS
91-96
IM_RU CONSTRUCTION
97-106
IM_RU INSTALLATION
107-128
INTRODUCING IM_RU
FLYOVER FASHION FESTIVAL IS A TWO-DAY EVENT THAT
FEATURES
EMERGING
FASHION,
DESIGN
AND CREATIVE TALENT THROUGH A UNIQUE MIX OF RUNWAY SHOWS, DISCUSSIONS, EXHIBITIONS AND MUSICAL PERFORMANCES. A WIDE VARIETY OF FASHION, ART AND MUSIC WILL TAKE CENTER STAGE AT FLYOVER. LOCATED IN THE PED MALL I N T H E H E A R T O F I O W A C I T Y. T H I S I S I O W A C I T Y ’ S 2 N D A N N U A L F L Y O V E R F A S H I O N F E S T. 2 0 1 7 B R I N G S DESIGNERS AND ACTIVIST FROM ALL OVER THE U N I T E D S T A T E S T H A T H A V E T I E S T O T H E M I D W E S T.
FLYOVER FASHION FEST #flyoverfashionfest
THE
FESTIVAL
AND
TALENT
OF
IOWA
IS
MORE
MUCH
SHOWCASES THE
THE
CREATIVENESS
M I D W E S T,
THAN
A
PROVING
FLYOVER
STATE.
FASHION FESTIVAL ISU FABRICATING POTENTIALS | 10
IRIS VAN HERPEN
FASHION METHODOLOGY 6 CASE STUDIES
IRIS VAN HERPEN’S FIRST RUNWAY SHOW BEGAN IN 2007. HER PASSION IS TO BLEND THE LINES BETWEEN THE PAST AND FUTURE. SHE’S NOT AFRAID OF TECHNOLOGY AND FINDS NEW WAYS TO FUSE TECHNOLOGY AND TRADITIONAL C R A F T S M A N S H I P. HER USE OF 3D PRINTING IS HER BASIS WHICH THEN SHE CONSTRUCTS IN A SCULPTURAL MANOR. SHE HAS BEEN CALLED THE “NEW COUTURE” PIONEER. HER LINE, “BETWEEN THE LINES”, EXPLORES THE IMPERFECTION OF SYSTEMS & STRUCTURE IN BOTH THE PHYSICAL & DIGITAL WORLD. IN HER PIECES SHE FOCUSES ON THE GAPS BETWEEN MATERIALS AND THE SILHOUETTES THOSE LINES CREATE. THIS COLLECTIONS CONSIST OF LINEAR SHIFTS AND SHARP CONTRAST BETWEEN LIGHT AND S H A D O W. I N C O L L A B O R AT I O N W I T H A R C H I T E C T P H I L I P B E E S L E Y S H E ’ S USED SOFT 3D HAND-CASTED PU FABRICS THAT ARE HAND-PAINTED THROUGH INJECTION MOLDING AND EXPANDABLE LASER-CUT MYLAR.
ORIGAMI FASHION THIS TECHNIQUE IS A NEW AND INNOVATIVE WAY TO COMBINE THE OLD JAPANESE TECHNIQUE OF ORIGAMI FOLDING OF PAPER WITH HIGH FASHION MATERIALS WITH INSPIRATION FROM ARCHITECTURAL FORMS. TO ACHIEVE THE ORIGAMI AND STRUCTURAL AESTHETIC OF: PLEATING, FOLDING, CUTTING, CURLING, AND MANIPULATING FABRIC ARE IMPLEMENTED TO CREATE A WEARABLE FORM. THOUGH NOT E A S Y T O E X E C U T E , I T C A N H A V E A S I G N I F I C A N T I M P A C T V I S U A L L Y. MATERIALS: VARY FROM PAPER, KNITTING, PLASTICS AND COTTON. DESIGNERS USING ORIGAMI AS A METHOD: JOHN GALLIANO CHRISTIAN DIOR JUM NAKAO SANDRA BACKLUND ALEXANDRA VERSCHUEREN
ISU FABRICATING POTENTIALS | 14
METHODOLOGY
IRIS VAN HERPEN
TECHNOLOGY HAS CREPT ITS WAY INTO THE TEXTILE AND FASHION I N D U S T R Y. A D V A N C E M E N T S I N I N T E R A C T I V I T Y A N D M A T E R I A L I T Y, L E A D T O INCREDIBLE PIECES OF FASHION. YING GAO COLLECTIONS ARE A CONSTANT S T U D Y O F M A T E R I A L I T Y. T H E Y P U S H T H E L I M I T S O F W H A T F A S H I O N C A N B E . I N A W A Y, M O S T O F H E R D E S I G N S A R E A F A S H I O N P A V I L I O N . T H E Y EXIST AS STUDIES, RATHER THAN PRACTICAL FINISHED PRODUCTS. MANY OF THE DESIGNS UTILIZE SMALL MOTORS THAT MOVE THE FABRIC IN RESPONSE TO SOME SORT OF TRIGGER. SHE HAS USED EYE TRACKING T E C H N O L O G Y, E X P R E S S I O N R E C O G N I T I O N , A N D L I G H T S E N S O R S . S O M E O F T H E PROJECTS USE A PHOTO LUMINESCENT THREAD WHICH WILL EMIT A LIGHT AFTER ABSORBING PHOTONS FROM OUTSIDE SOURCES. THIS IS AN INTERESTING WAY TO BRING LIGHT TO AN OBJECT WITHOUT HAVING TO USE ELECTRONICS. IN RELATION TO THE DESIGN OF A PAVILION, MANY THINGS CAN BE TAKEN AWAY FROM WHAT YING GAO HAS DONE. SHE SHOWS THE V E R S A T I L I T Y O F F A B R I C , B O T H S T R U C T U R A L L Y A N D F O R M A L L Y. T H E DESIGNS PUSH THE LIMITS OF WHAT FABRIC AND FASHION CAN DO.
INFLATABLE FASHION C R E A T E D B Y J A P A N E S E A R T I S T D A I S Y, A L S O K N O W N A S R E I H O S O K A I . HOSOKAI CONSTRUCTS EACH PIECE BY HAND, BUT SHE ADMITS IT CAN BE DIFFICULT TO ACCOUNT FOR THE AMOUNT OF AIR WHEN MANAGING THE SIZE AND VOLUME OF HER DRESSES. ALTHOUGH THE MATERIALS ARE INEXPENSIVE —ABOUT 9 CENTS PER BALLOON— EACH FEATHERWEIGHT (AND BIODEGRADABLE) CREATION CARRIES A HEFTY PRICE TAG RANGING FROM $1,930 TO $3,860.
ISU FABRICATING POTENTIALS | 16
METHODOLOGY
INTERACTIVE TEXTILES
SMOKE DRESS ENGAGES THE MOST INTIMATE AND NEGLECTED INTERFACE O F F A S H I O N : E X T E R N A L P R O X I M I T Y. A V E I L O F S M O K E I S A U T O M A T I C A L L Y EMITTED “WHENEVER SOMEONE ENTERS THE PERSONAL SPACE OF THE W E A R E R , T H U S C A M O U F L A G E I T S E L F W I T H I N I T ’ S O W N M A T E R I A L I T Y. ” T H E DRESS IS 3D PRINTED WITH POLYAMIDE AND TPU 92A- 1 (THERMOPLASTIC POLYURETHANE), THE DRESS FULLY UTILIZES 3D PRINTING MATERIAL. THIS PRINTED MATERIAL IS USED TO HOUSE EMBEDDED PROXIMITY SENSORS THAT TRIGGER THE SMOKE MACHINE MOUNTED MID-BACK. SMOKE DRESS SPEAKS TO THE EVER-DECREASING DISTANCE BETWEEN TECHNOLOGY AND O U R S K I N , A N D T H E R O L E I T P L A Y S I N H U M A N -T O - H U M A N I N T E R F A C E S .
REFLECTIONS IN FACETS WINDE RIENSTRA’S CREATION OF REFLECTIONS IN FACETS IS INSPIRED BY HER ATTRACTION TO THE WAY OUTERWEAR ESTABLISHES SPACIAL RELATIONSHIPS. BY INCORPORATING ARCHITECTURAL COMPONENTS, WINDE CONSTRUCTS A SENSE OF BALANCE BETWEEN CLOTHING AND STRUCTURE. SHE CREATES CLOTHING THAT ADOPTS TRADITIONAL CULTURAL FORM AND AESTHETICS AND TRANSFORMS THEM INTO MODERNISTIC ATTIRE. HER AMBITION TOWARD DEVELOPING THE CLOTHING SERIES, REFLECTIONS IN FACETS WAS TO DESIGN CLOTHING THAT WOULD BECOME ALTERED IN APPEARANCE AS LIGHT CHANGES, THUS RESULTING I N A D I S T O R T I O N O F S H A D O W. A LT H O U G H W I N D E ’ S M AT E R I A L PA L E T T E IS MINIMALISTIC, SHE PORTRAYS STRONG ELEMENTS OF CONTRAST WITH THE INCORPORATION OF WOOD, SILK, AND GLASS INTO HER PIECE.
ISU FABRICATING POTENTIALS | 18
METHODOLOGY
SMOKE DRESS ANOUK WIPPRECHT & NICCOLO CASAS
ESTABLISHED IN 2000, THE MUSEUM OF MODERN ART AND MOMA PS1 JOINTLY PRESENT THE MOMA PS1 YOUNG ARCHITECTS PROGRAM (YAP), AN ANNUAL COMPETITION THAT GIVES EMERGING ARCHITECTS THE OPPORTUNITY TO BUILD PROJECTS CONCEIVED F O R M O M A P S 1 ’ S F A C I L I T Y I N L O N G I S L A N D C I T Y, QUEENS. TWO PROJECTS ARE SELECTED, ONE TO INHABIT MOMA PS1’S COURTYARD AND ANOTHER TO
COMPLIMENT
MAXXI’S
CELEBRATED,
NEW
BUILDING DESIGNED BY ZAHA HADID IN ROME.
THE OBJECTIVE OF THE PROJECT IS TO PROVIDE VISITORS
WITH
AN
OUTDOOR
RECREATIONAL
AREA FOR THE SUMMER, A MUCH NEEDED REFUGE IN
AN
URBAN
E N V I R O N M E N T,
MAKING
USE
OF
THE PRE-EXISTING SPACE AND MATERIALS. THE ARCHITECTS FOLLOW A PROGRAM WITH A TIGHT B U D G E T, A N D A R E I N V O L V E D I N E V E R Y A S P E C T O F T H E D E S I G N , D E V E L O P M E N T, A N D C O N S T R U C T I O N O F T H E P R O J E C T. T H E S I T E , M O M A P S 1 ’ S L A R G E TRIANGULAR ENTRANCE COURTYARD AND OUTDOOR SCULPTURE AREA, IS AN INTEGRAL PART OF THE MUSEUM. WE USED THIS RESEARCH TO INSPIRE AND
MOMA PS1
INFORM OUR PAVILION DEVELOPMENT AND DESIGN.
6 CASE STUDIES ISU FABRICATING POTENTIALS | 20
DUNESCAPE ALLOWS VISITORS TO SOCIALIZE, LOUNGE AROUND, SUNBATHE, COOL OFF WITH MISTING WATER, AND EVEN SPLASH THROUGH POOLS. DUNESCAPE’S MULTI-DIMENSIONAL DESIGN ALLOWED THE HEIGHTENED SECTIONS OF THE ASSEMBLY TO SHADE, WHILE LOWER SECTIONS COULD BE USED AS SEATING AREAS. ONE SECTION OF THE MULTI-DIMENSIONAL DESIGN EVEN INCORPORATED INDIVIDUAL CABANAS WHERE VISITORS COULD CHANGE THEIR CLOTHES. THIS AREA WAS CREATED USING A THICKENED TRANSLUCENT WALL THAT DIVIDED THE LARGE SPACE INTO SMALLER AREAS. DUNESCAPE ALSO INCORPORATES LIFEGUARD STANDS WHICH SERVE AS PERFORMANCE PLATFORMS. AS WATER RUNS ACROSS THE ENTIRE SURFACE, THERE ARE POOLS THROUGHOUT THE COURTYARD WHICH COLLECT THIS WATER AND THEN DISPERSES IT INTO THE AIR CREATING A MIST GARDEN. “WE HAD BEEN EXPERIMENTING WITH DIGITAL SIMULATION AND ANIMATION DESIGN TECHNIQUES AS WELL AS REALLY TRYING TO PUSH THE IDEA OF ‘PERFORMANCE-BASED DESIGN,’ THE MAIN I N T E R E S T W A S T R A N S L A T I N G T H E D I G I T A L I N T O T H E A C T U A L . ” – G P.
SUR 2005 HERMAN DIAS ALONSO +XEFIROTARCHSUR DESIGNED AS A CIRCUS OR PLAYGROUND, “SUR” HAS NO NARRATIVE; IT EXISTS ONLY AS A CREATIVE PLATFORM FOR HUMAN INTERACTION. I N A T W I S T E D , I R O N I C S O R T O F W A Y, T H E P L A Y G R O U N D I S I N S P I R E D B Y AN IMAGINED, DECEASED, EXTRATERRESTRIAL MONSTER. ALTHOUGH THE ALIEN SKELETON FORM CARRIES A CONSISTENT LANGUAGE, SLIGHT VARIATIONS ACROSS THE ENTIRE PIECE RESTRAIN THE USER FROM UNDERSTANDING IT ALL AT ONCE. THEREFORE, THE SKELETON PLAYGROUND MUST BE EXPLORED AND DISCOVERED G R A D U A L L Y. USE OF PARAMETRIC MODELING SUCH AS MAYA WAS UTILIZED FOR THE DEVELOPMENT OF THE ORGANIC SKELETON AND FABRIC FORMS. FOOTINGS FOR THE ALUMINUM SKELETON WERE CAST WITH RUBBER AND FIBERGLASS. FABRICS STITCHING ACROSS THE SKELETON ARE LATEX AND SPANDEX AND CONCEAL ARTIFICIAL LIGHTING. THE USE OF FABRIC AND A LIGHTWEIGHT SKELETON AS WELL AS THE INTEGRATION OF ARTIFICIAL LIGHTING WILL S U I T O U R O B J E C T I V E S F O R T H E F L Y O V E R F A S H I O N F E S T I N I O W A C I T Y, I O W A .
ISU FABRICATING POTENTIALS | 22
MOMA PS1
DUNESCAPE 2000 GREGG PASQUARELLI SHOP ARCHITECTS
OBRA DESIGNED THE STRUCTURE WITH LARGE TRIANGULAR OUTDOOR SHELLS, WHICH WERE ASSEMBLED AND MANUFACTURED WITHIN THEIR O W N W O R K S H O P, A N D T H E N L A T E R R E C O N S T R U C T E D O N S I T E . T H E S H E L L S FEATURE ACCORDION-LIKE CHARACTERISTICS WITH THE ABILITY TO FOLD RELATIVELY SMALL FOR TRANSPORTING REASONS AND RESEMBLING, THE FIRM REFERRED TO THESE SHELLS AS CONCERTINA. THE CONCERTINA’S WERE MODELED AND MANUFACTURED DIGITALLY WITH A CNC ROUTER. THIS PROVIDED THE ENERGETIC CURVED FORM. A SKIN OF POLYPROPYLENE MESH SCALES ALLOWED FOR WIND AND RAIN TO PASS THROUGH THE STRUCTURE, WORKING TOGETHER WITH IT AS IT WOULD LIFTING UPWARDS AND PROVIDING SOFT SHADE. IN ORDER TO COVER THE PERFORATION, MATERIAL RETRACTS ITO ITS ORIGINAL DESIGN SHAPE, DUE TO ENVIRONMENTAL SHIFTS, THEREFORE CAPITALIZING ON MATERIALS E L A S T I C I T Y.
WENDY 2012 HWKN WENDY EXPERIMENTS THE BOUNDARIES OF ARCHITECTURE AND ECOLOGICAL/SOCIAL EFFECTS. IT CLEARS AIR POLLUTION BY BLOWING WIND THROUGH ITS SPECIALIZED FABRIC. AS WELL AS COOLING DOWN THE HEAT OF NEW YORK’S SUMMER BY MISTING WATER UPON THE PUBLIC GROUND, WHICH ALSO CREATES ZONES OF DIVERSIFIED SOCIAL ACTIVITIES IN THE COURTYARD OF MOMA. WENDY FEATURES A SIMPLE, INEXPENSIVE CONSTRUCTION SYSTEM THAT IS ALSO TOTALLY AVOIDED IN COMMON ARCHITECTURAL WORKS: THE FABRICS ARE SEWED TOGETHER TO CREATE PYRAMID-SHAPED TUBES, WHICH IS STRETCHED ACROSS THE MULTI-CUBE STRUCTURE, CREATING THE LARGEST SURFACE AREA POSSIBLE WITHIN THE 56’ X 56’ X 46’ VOLUME SITE. THE STRUCTURE CREATES A FREESTANDING SPIKE BOMB THAT IS HOVERING IN MID-AIR WITH THE HELP OF CUBE SHAPED GRIDS. VISITORS ARE ABLE TO CLIMB UP INSIDE THE HUGE STRUCTURE BOTH BY USING ITS STRUCTURAL GRIDS AND CLIMBING UP THE STAIRS INTO THE INSTALLED PLATFORM OF ITS INTERIOR.
ISU FABRICATING POTENTIALS | 24
MOMA PS1
BEATFUSE! 2006 OBRA ARCHITECTS
JAQUE TOOK INSPIRATION FROM BOTH THE AMOUNT AND PROCESS I N W H I C H W A T E R C I R C U L A T E S B E N E A T H N E W Y O R K C I T Y. C O S M O I S A N A S S E M B L A G E O F E C O S Y S T E M S T H A T I S A B L E T O P U R I F Y T H R E E -T H O U S A N D GALLONS OF WATER. THE INSTILLATION IS CHARACTERIZED HIGHLY BY THE STRETCHED-OUT PLASTIC MESH THROUGH WHICH WATER TRAVELS. W H E N WAT E R H A S B E E N P U R I F I E D W I T H I N T H I S M E S H I T B E G I N S T O G L O W. THE COMPLEX ECO-SYSTEMS MADE OF PIPES CREATE AN ENVIRONMENT OF CLIMATIC COMFORT THROUGH THE USE OF SHADE, EVAPORATION, AND AIR DEPRESSION. THE INSTILLATION IS MADE OUT OF CUSTOMIZED IRRIGATING CENTERED PIVOTS. WITH THIS LIGHT STRUCTURAL LOGIC, THE INSTILLATION HAS THE ABILITY TO BECOME MOBILE. HOWEVER, COSMO CAN TRAVEL NOT JUST PHYSICALLY BUT DIGITALLY AS WELL. WITH SENSORS PLACED WITHIN THE WATERS, COSMO IS ABLE TO PRODUCE DATA WHICH CAN BE RELAYED ONLINE IN ORDER TO BETTER INFORM ITS AUDIENCE AND THE PUBLIC.
LIQUID SKY 2017 BALL - NOGUES USING TRANSLUCENT MYLAR PANELS TINTED IN FOUR COLORS, BALLNOGUES CREATED PIECES THAT FILTERED THE SUNLIGHT AND CAST DANCING SHADOWS ACROSS THE SURROUNDING CONCRETE SURFACES. WOODEN UTILITY POLE TRIPODS PUSH THE MYLAR PANELS UPWARD CREATING T E N T- L I K E S H A P E S . T H E S E T R I P O D S A L S O C R E A T E T H E S T R U C T U R E F O R NETTED HAMMOCK SEATING AREAS DESIGNED BY ARTIST SHEILA PEPE. SIMILAR TO THE MAIN GALLERY PIECES IT IS SUPPORTED BY UTILITY POLES. THESE TRIPODS, HOWEVER, ARE EQUIPPED WITH WATER BUCKETS W H I C H D U M P WAT E R O N T O T H E P E O P L E B E L O W. L I Q U I D S K Y I N C O R P O R AT E S SHADING, SEATING, AND A WATER FEATURE IN A COHESIVE DESIGN. SIMPLE STRUCTURAL ELEMENTS ALLOW MORE INTRICATE AND EXCITING F E A T U R E S T O S T A N D O U T. T H E U S E O F S U N L I G H T T H R O U G H T H E M Y L A R P A N E L S C R E A T E S A D E S I G N T H A T C H A N G E S A N D E V O L V E S D A Y B Y D A Y.
ISU FABRICATING POTENTIALS | 26
MOMA PS1
COSMO 2015 ANDRES JAQUE OFFICE FOR POLITICAL INNOVATION
IDEATION IS THE FIRST STEP TO CREATION. WITHIN THE BEGINNING STAGES OF DESIGN W E B R O K E I N T O S M A L L T W O -T H R E E P E R S O N TEAMS TO INVESTIGATE FORM, STRUCTURE, AND LIGHTING INTEGRATION. ALONG WITH SKETCHES WE WORKED WITH LED CIRCUIT STICKERS TO LOOK AT HOW LIGHTING WOULD BE INTEGRATED WITHIN A DESIGN. SMALL SCALE MODELS WERE PRODUCED TO SHOW DETAILED CONNECTIVITY OF THE LARGER STRUCTURES.
EXPLORATION
-Jacob Oswald
“A pavilion can obtain a variety of factors, and in recent years I believe the concept of pavilions has turned into the idea of an ephemeral architectural art piece that temporarily enhances its surrounding environment.” -Brooklyn Fenchel
“This pavilion would find a harmonious hybrid of technology and materials within an architectural content. The entire idea will be centered on a piece of machinery that is encompassed by a fabric o v e r l a y. T h e m a c h i n e r y w i t h i n t h e center of the object allows for the object, and thus the entire pavilion as a whole, to become k i n e t i c . H o w e v e r, t h i s m a c h i n e r y would not only be able to display a physical sense of movement but a visual sense as well through the use of changing LED lights.”
“In the case of pavilions, the c o n n e c t i o n o f i n t u i t i o n f r o m u s e r, to design, to designer is amplified. A pavilion does not exist as a complete design. It exists as a s t u d y. A p a v i l i o n s h o u l d b e e n t i r e l y a c c e s s i b l e t o t h e p a s s e r b y. I t s users should not wonder how the pavilion came about, but rather how its ideas can be utilized in the scale at which the user exists.” -Billy Pausback
“One aspect I would like to include is providing three levels of interaction, the first being in the range of ground level to three feet above ground, the second level being three to eight feet above ground, and the third level being eight to fifteen feet above ground. I envision the interior space being fully enclosed except for the openings to e n t e r. T h e w a l l s w o u l d b e m a d e o f a few different modular pieces that could house lighting. Some of these modular pieces would be covered with fabric while others are left exposed for the user to interact and understand how the structure is put together and learn how the lighting works. I envision the interior as an oval shape roughly 15 feet long by 10 feet wide with an entrance on each end of the long axis.”
“Pavilions are where imaginations meet r e a l i t y. They’re limitless c r e a t i o n s d e p i c t i n g t e m p o r a r y, b u t rather permanent three- dimensional space containers. They provide room for creative explosions, live, physical interactions, movement, a n d p l a y. T h e p a v i l i o n c a n b e , b u t rather should be, something dreamt first and foremost. It finds a way to hurdle an obstacle then takes an extra leap. It projects within the boundaries but always looks for a way of reaching for heights to exceed its constraints. A pavilion should strive to an ingenious level, battle through perfection, b u t m o s t i m p o r t a n t l y, r e f r a i n f r o m a fictional nature. Pavilions tie foreign elements into one, unified being. They allow change toward evolution. They don’t define literal meaning but provoke constructive imagination and thought. Pavilions make people think and wonder and perhaps quite possibly question. Pavilions should be bold and beyond basic. Meaning? They express color as an extended move.”
“My vision for this project is to create a space that is a performance. Something that is wide rather than tall. I imagine a form that has a shell that is movable and can crawl. Something more theatrical is what I imagine. The form could be constantly changing shape as it moves through space allowing every interaction to be unique. With materials in mind, I imagine a fabric that is sleek and reflective but light weight and flexible. The form will be organically shaped and can be made of repeating patterns. I imagine layers of patterns engulfing t h e i n t e r i o r. T h e i n s i d e o f t h e space should be a magical space that contrasts the outside by being whimsical and dream like. That way it will draw users into the pavilion.” -Alexa Barr
-Nick Dentamaro
-Josh Cobler
-Austin Demers
ISU FABRICATING POTENTIALS | 30
EXPLORATION
“Our pavilion should be driven first and foremost by its potential to create design value in its physical form. In the spirit of fashion, a jacket doesn’t need to “save the whales” for me to want to buy it. Sometimes it helps, but a jacket of beauty and quality sells itself. As humans, we have the capacity to create and appreciate beauty without the embellishments of didactic or advocative narratives.”
CONTINUUM #continuumpavilion
EXPLORATION
THE EXTERIOR OF THE PAVILION IS A CONTINUAL ORGANIC SHAPE THAT SEEMS TO MOVE AS YOU WALK AROUND AS WELL AS WITHIN THE STRUCTURE. KEEPING THE EXTERIOR CONSISTENT AND SEEMINGLY ENDLESS, INTRIGUES USERS FROM AFAR AS WELL AS UP CLOSE. THE LAYERING OF MATERIALS, L I G H T I N G A N D D E P T H S , G I V E S T H E S T R U C T U R E M O V E M E N T A N D I N T E R E S T. T H E W A Y I N W H I C H U S E R S I N T E R A C T W I T H T H I S S T R U C T U R E C A N V A R Y. ONE WAY THEY CAN HAVE A ROLE IN THE FUNCTION IS BY MOTION SENSOR LIGHTING. WHEN USERS SIT AND PUT WEIGHT ON THE SEATING THAT IS INCORPORATED WITHIN, THE LIGHTS CAN EITHER CHANGE COLORS/ INTENSITY OR OFF AND ON. THIS DIGITAL INTERACTION CAN PROVIDE INTEREST AND MAKE THE STRUCTURE APPEAR TO ALWAYS BE DIFFERENT AND EVOLVE. THE CONSISTENCY BETWEEN DURING THE DAY AND AT NIGHT IS ANOTHER ASPECT THAT THIS CAN CONTROL AS WELL. AS FAR AS PHYSICAL INTERACTION WITH THE PAVILION, THE USERS CAN POTENTIALLY MOVE PARTS OR PIECES TO CHANGE THE FORM OF THE PAVILION. HAVING THIS CAPABILITY G I V E S T H I S P A V I L I O N O P P O R T U N I T Y A S W E L L A S H A V I N G F U N C T I O N A L I T Y.
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KALEIDO #kaleido
EXPLORATION
USING ONLY SIMPLE SHAPES AND SUBTLE CHANGES, A KALEIDOSCOPE CREATES A PANOPLY OF BEAUTIFUL PATTERNS. IN GREEK, KALEIDO MEANS “ B E A U T I F U L S H A P E . ” I N T H E C A S E O F T H I S PAV I L I O N , K A L E I D O , A N E L E M E N TA R Y SHAPE, IS MODULATED. BUILDING BLOCKS REPLICATED FOR THE CREATION A N D C A R E F U L M A N I P U L A T I O N O F S P A C E , E X P E R I E N C E , A N D B E A U T Y. KALEIDO IS A SPACE WHOSE BOUNDARIES ARE AMBIGUOUS. VISION INTO AND THROUGH THE PAVILION CHANGES AS ONE APPROACHES, P O N D E R S , A N D P A S S E S T H R O U G H . F R O M O N E V A N T A G E P O I N T, T H E PAVILION APPEARS AS A NIMBLE FRAMEWORK, OBSTRUCTING ONE’S VIEW VERY LITTLE. AT ANOTHER, THE PAVILION APPEARS AS A CATACOMB OF FABRICS, COMPLETELY CONCEALING WHAT LIES BEYOND.
3/4”
0” 1/4”
1”
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ENIGMA #isuenigma
EXPLORATION
ENIGMA HAS BEEN DESIGNED TO ADDRESS SEVERAL ENVIRONMENTAL ELEMENTS COMMON TO IOWA. TO DO THIS, ENIGMA HAS BEEN CONSTRUCTED WITH MOVABLE PANELS THAT THE USER CAN ADJUST DEPENDING ON THE WEATHER CONDITIONS FOR THAT SPECIFIC TIME. AS WIND PICKS UP OR THE SUN POSITION CHANGES, THE USER CAN SLIDE THE PANELS VERTICALLY TO CREATE THE LEVEL OF PROTECTION THAT THEY FEEL F I T. T H E I N D E P E N D E N T N A T U R E O F T H E P A N E L S A L L O W S C O M F O R T T O B E P U T I N T H E H A N D S O F M A N Y U S E R S S I M U L T A N E O U S L Y. E N I G M A I S B U I L D U P O N T W E N T Y- O N E C O L U M N S W I T H N I N E T Y I N D I V I D U A L P A N E L S T H A T A R E T I G H T L Y W R A P P E D I N A P O L Y- I N T E R L O C K K N I T T E D SYNTHETIC FIBER. THE MAIN SUPPORT OF THE STRUCTURE COMES FROM A SERPENTINE SHAPED BEAM THAT RUNS ALONG THE GROUND PLANE AND SUPPORTS THE COLUMNS. ENIGMA’S WRAPPING IS A BREATHABLE FABRIC THAT HAS MINIMAL SHRINKAGE. LED LIGHTS ARE INCLUDED ON THE SOUTH END OF THE STRUCTURE SO THAT THE SILHOUETTE OF THE USERS SHINE THROUGH TO THE NORTH SIDE LEAVING A MYSTERIOUS PERFORMANCE.
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TESSA
#tessatakesthefest
EXPLORATION
THREE-DIMENSIONAL TESSELLATION IS THE TOTAL FILLING OF ALL SPATIAL VOIDS BY THE USE OF ANY NECESSARY SHAPES. THE TRUNCATED OCTAHEDRON, T E S S E L L A T E N A T U R A L L Y. T H I S U N I Q U E C H A R A C T E R I S T I C A L L O W S F O R PURE AND STRUCTURALLY SOUND MODULATION IN ALL DIMENSIONS, AN OPPORTUNISTIC TRAIT TO POSSESS IN SPATIAL EXPLORATIONS. MOREOVER, EVERY POINT OF PLANAR INTERSECTION ON THE TRUNCATED OCTAHEDRON IS IDENTICAL, MAKING THE PRODUCTION OF JOINTS A BREEZE. UNLIKE ITS PREDECESSOR, KALEIDO, MODULES ARE CREATED INDIVIDUALLY AND SNAPPED TOGETHER, THE TRUNCATED OCTAHEDRONS ACT AS LIFESIZED BUILDING BLOCKS THAT CAN ATTACH ONTO ONE ANOTHER AT ANY FACE. FINAL PAVILION FORMS CAN BE GEOMETRIC OR ANAMORPHIC, SOLID OR PERFORATED, PATTERNED OR GRADATED. THE OCTAHEDRON GIVES TESSA THE CAPACITY TO DEFINE SPACES WITH ENTIRELY ORGANIC FORM WHILE STILL E X H I B I T I N G A S T R O N G S E N S E O F I N T E N T I O N A L I T Y, C O H E S I O N A N D L E G I B I L I T Y.
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PIXEL
#pixelpath #pixelstitch
EXPLORATION
THE STRUCTURE OF THE PAVILION WAS INSPIRED BY A SINGLE PIXEL. PIXELS ARE THE SMALLEST ELEMENTS OF AN IMAGE. THESE PIXELS JOIN TOGETHER TO CREATE A WHOLE. OUR PIXELS BECOME A THREE DIMENSIONAL MODULATION OF A TRIANGLE THAT IS REPEATED THROUGHOUT THE STRUCTURE. SPORADICALLY PIXELS ARE DELETED FROM THE FORM. THIS CREATES VISUAL VOIDS WITHIN THE STRUCTURE PULLING THE FORM FROM BEING A RIGID RECTANGULAR BOX AND GIVES THE PAVILION DYNAMIC CHARACTER. THE JOURNEY THROUGH THE SPACE GRADATES AS T E N S I O N I N T H E M AT E R I A L C H A N G E S F R O M H I G H T O L O W. D E P E N D I N G ON ONE’S ENTRY POSITION THE EXPERIENCE CHANGES. FROM ONE END THE FABRIC IS PULLED TIGHT CROSSING THROUGH THE SPACE CREATING AND ENERGETIC L E D O F M O V E M E N T. A S O N E C O N T I N U E S THROUGH THE FABRIC LOOSENS ITS REIGNS AND FREES ITSELF F R O M T E N S I O N . I F O N E T R A V E L S T H R O U G H T H E O P P O S I T E W A Y, T H E EXPERIENCE IS FLIPPED AND THE EMOTIONAL IMPACT IS REVERSED.
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BALEFIRE #flame
#lit2017 1” STEEL 1/8” WIRE
WHITE POLY BLEND FABRIC
CLAMP JOINT
LED LIGHTS
STRUCTURE JOINT
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EXPLORATION
BALEFIRE EXTENDS PAST THE BOUNDARIES OF A SINGLE PURPOSE OR JUST A STATIC STRUCTURE. IT WILL HOST MULTIPLE INTERACTIONS SUCH AS MOVING, TOUCHING, WANDERING, SITTING, JUMPING, VIEWING, AND LISTENING. WITH THE USE OF LARGE LANTERN SHAPED CYLINDERS THAT ARE LINED WITH LED LIGHTS ON THE INSIDE, THE FORM WITH GLOW AND APPEAR AS A SUSPENDED FRAME. FORM IS FOCUSED ON VARIABILITY WITHIN THE STRUCTURE. THE WOVEN PARACORD HAS HIGH ELASTICITY SO THAT JUMPING ON THE TIRES INTO THE LANTERNS. THE PAVILION IS SUPPORTED BY A PERIMETER STRUCTURE MADE OF ONE INCH THINK STEEL TUBING THAT RUNS DOWN THE SUPPORT COLUMNS AND WILL BE DISGUISED AS FULL LENGTHS FABRIC LANTERNS. THE LATERAL SUPPORT OF THE STRUCTURE IS ALSO ONE INCH THICK STEEL TUBING. THE LANTERNS WILL HANG ALONG THE LATERAL TUBES FROM A HOOK JOINT A N D S U P P O R T E D W I T H I N T H E S T R U C T U R E W I T H A 3 D P R I N T E D Q U A D J O I N T. THE LANTERN FABRIC IS SEWN AROUND THE EIGHTH INCH WIRE AT THE TOP A N D A L O N G T H E S I D E T O A L L O W F O R M O V E M E N T W H I L E U S E R S I N T E R A C T.
TESSA 2.0
#tessatakesthefest
3 WAY JOINT
EXPLORATION
I R O N I C A L L Y, A S T H E E X P L O R A T I O N P R O G R E S S E D , P O T E N T I A L F O R T H E GENETICS OF TESSA’S ANCESTOR, KALEIDO, TO RESURFACE WAS DISCOVERED. T R A N S L U C E N T, C O L O R E D P L E X I G L A S S H E E T S S U S P E N D E D I N P L A C E O F T H E PAPER PRODUCE A CHANGING MOSAIC OF OVERLAYING COLORS AND SHAPES. A D D I T I O N A L L Y, P R O J E C T E D V I D E O F O O T A G E D A N C E S I N P S Y C H E D E L I C PATTERNS ACROSS TESSA’S FRACTAL FORM. BOTH POTENTIALS CREATE A SPECTACLE LIKE THAT OF A OVERSIZED, OUTDOOR KALEIDOSCOPE. TWO ADDITIONAL EXPLORATIONS INCLUDE: THE APPLICATION OF COLORED S T R I N G T O T E S S A ’ S F I N I S H E D S K E L E T O N U P O N F E S T I V A L S E T- U P, A N D T H E STRETCHED SEWING OF FABRIC INTO THE CENTER OF EACH OCTO. THE FORMER ACHIEVES BALANCE OF GEOMETRIC AND ORGANIC FORM AND (LITERAL) CONNECTION THROUGHOUT THE PED MALL. THE LATTER EXPLORES AN E N T I R E LY N E W S H A P E P RO D U C E D W I T H T H E O C TO ( R E S E M B L I N G A H O N E YC O M B ) AND EXHIBITS THE VERSATILITY AND RESERVED BEAUTY OF FABRIC.
4 WAY JOINT
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GHOST #isughost
1/8” WIRE JOINT
1/8” WIRE
1/4” WOOD 2X4 WOOD PIN
1/8” WIRE
BOARD EXPLORATION
GEOMETRIC FORM AND ORGANIC MOVEMENT BRING THE DESIGN TO LIFE C R E A T I N G T H E I L L U S I O N S O L I D A N D T R A N S P A R E N C Y. B U I L D I N G O F F F R O M THE PREVIOUS DESIGN OF PIXEL WE KEPT THE IDEALS OF THE PREVIOUS DESIGN TO CREATE AN EMOTIONAL JOURNEY THROUGH THE STRUCTURE OF OPEN AND CLOSE. THE PAVILION IS STRUCTURED IN A SQUARE FORM TO ALLOW FOR SIMPLE CONSTRUCTION AND THE ABILITY TO PROVIDE MAXIMUM SUPPORT TO OUR INNER STRUCTURE. THE STRUCTURE OF THE FORM WAS INSPIRED BY THE IDEA OF A SINGLE PIXEL. OUR DESIGN TRANSFORMED THAT PIXEL INTO AN IMAGE OF A PAVILION. THEN WOOD WALLS ARE MADE OUT OF A PLANK AND A RISER TO CREATE THE ILLUSION OF A SEE THROUGH WALL. THE INNER SPACE OF THE PAVILION IS DESIGNED WITH MATERIAL CHANGING FROM HIGH TO LOW AS ONE WALKS THROUGH THE PAVILION. LED LIGHTS ARE STRUNG IN THE PAVILION ADDING TO THE EXPERIENCE FROM EITHER SIDE TO THE PAVILION. WHERE THE CLOTH IS TENSIONED AND TIGHT LIGHTS ARE FEWER TO ADD TO THE TIGHT AND CONSTRICTING OVERALL FEELING OF THE PATH.
1/8” WIRE
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MALEKYOOL #malekyool
WIRE
ELBOW JOINT
ELBOW JOINT
STAR JOINT
EXPLORATION
THERE ARE MANY SHAPES DEEMED APPROPRIATE FOR STRUCTURAL P E R F O R M A N C E A N D S T R E N G T H C A P A B I L I T Y. M A T E R I A L S S U C H A S B R I C K S AND CMUS ARE SOME OF THE MOST USED AND RELIABLE BUILDING M E T H O D O L O G Y. M A L E K Y O O L I S C R I T I Q U I N G S T A N D A R D B U I L D I N G M E T H O D S ASSOCIATED WITH BRICKS BY CHALLENGING TYPICAL LAYOUTS THROUGH T W O S E P A R A T E W A Y S . F I R S T, B Y O F F S E T T I N G A N D R O T A T I N G O U R M O D U L E S . THE IDEA IS TO OFF SET MULTIPLE TIMES TO CREATE A CANTILEVERED STRUCTURE THROUGH MODULES. MALEKYOOL ALSO CRITIQUES THE BRICK TECHNOLOGIES BY EXTRACTING A WIRE FRAME AND DELETING THE REMAINING MATERIAL. THIS LEAVES STRUCTURAL CAPABILITIES W H I L E R E M O V I N G E X C E S S W E I G H T; T H E R E F O R E M I N I M I Z I N G L I M I T A T I O N S . THE DESIGN REDEFINES TYPICAL BRICK CONSTRUCTION METHODS.
WHITE FABRIC
STAR JOINT
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SILHOUETTE #isusilhouette
EXPLORATION
SILHOUETTE IS CONSTRUCTED WITH BENT LAMINATION TO ACHIEVE THE C U R V E S T H AT H A P P E N A S T H E S T R U C T U R E A P P E A R S T O G R O W. B E N T LAMINATION IS A PROCESS IN LAYERING THIN PIECES OF MATERIAL OVER A MOLD AND REMOVING AIR TO STRETCH THE MATERIAL OVER THE DESIRED SHAPE. THE LAYERS OF WOOD CREATE OPPOSING GRAIN DIRECTION WHICH MAKE THE STRUCTURE STRONG. WITHIN THIS WOODEN STRUCTURE P L A S T I C S P H E R E S E X P A N D A N D C O N T R A C T A S T H E U S E R S P A S S B Y. T H E THIN TRANSPARENT PLASTIC THAT MAKES UP THE SPHERE INFLATES AND DEFLATES TO FILL IN SPACES WITHIN THE FORM. THIS CHANGE IN SHAPE I S A L S O P R O D U C E D B Y M O T I O N D E T E C T I O N T E C H N O L O G Y. T H E F A C A D E ALLOWS THE ENCLOSURE TO BE OPEN WITHIN THE SPACE RATHER THAN COMPLETELY DISENGAGED. SILHOUETTE ALLOWS THE USER TO WANDER THROUGHOUT THE CHANGING FORM, DISCOVERING DIFFERENT QUALITIES OF L I G H T, AUDITORY EXPERIENCES AND MECHANICAL M O V E M E N T.
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TESSA 3.0
#isutessatakesthefest
RHOMBI-DODECAHEDRONS
PYRAMID
OCTAHEDRON
CUBE
EXPLORATION
THE GREATEST CONTRAST BETWEEN TESSA 3.0 AND HER PREVIOUS I T E R A T I O N I S I N H E R N E W F O U N D S T R U C T U R A L I N T E G R I T Y. W H I L E V A R I O U S FORMS OF JOINTS WERE ATTEMPTED, NONE OF THE JOINTS IN TESSA 2.0 WERE ABLE TO HANDLE ACCIDENTAL FORCE WITHOUT BREAKING. THIS INSTABILITY WAS ALSO DUE TO LONGER SECTIONS OF WIRE ROD USED. IN TESSA 3.0, WE SHORTENED ROD LENGTH FROM 11 TO 9 INCHES AND BROKE DOWN UNITS OF DODECAHEDRONS INTO SMALLER GEOMETRIES LIKE TRIANGULAR PYRAMIDS, CUBES, AND RHOMBI-DODECAHEDRONS. JOINTS WERE THICKENED AND REDESIGNED TO WITHSTAND MORE FORCE THAN BEFORE. BECAUSE TESSELLATION CAN ONLY OCCUR ALONG MIRRORED EDGES, TESSA 3.0’S THREE-DIMENSIONAL SHAPES WERE ALL SELECTING ACCORDING TO THEIR VARYING USE OF FOUR TWO-DIMENSIONAL SHAPES: THE TRIANGLE, THE SQUARE, THE PENTAGON, AND THE HEXAGON. THIS DIVERSITY ALSO ALLOWS THE TESSELLATION OF DIFFERENT OBJECTS AND S I Z E S T O W O R K O R G A N I C A L L Y, F I L L I N G I N G A P S T H A T E X I S T A C R O S S T H E DIVERSITY OF THE FOUR AFOREMENTIONED THREE-DIMENSIONAL SHAPES.
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SHELLY #shelly
#fortunefield
EXPLORATION
IN THE FASHION INDUSTRY ORIGAMI HAS BEEN USED NOT IN THE TRADITIONAL SENSE OF PAPER FOLDING, BUT IN A WAY TO INFORM TECHNIQUES OF FABRIC PLEATING AND FORMATION. FASHION DESIGNERS, LIKE MOST DESIGNERS, STRIVE TO PUSH THE BOUNDARIES OF THEIR SPECIALTY AND STRETCH WHAT IS ALREADY KNOWN TO BE. IN THIS CASE, FASHION DESIGNERS LOOK TO ORIGAMI TO CREATE GEOMETRIC LIKE STRUCTURAL PIECES VERSES FREE OWING GARMENTS LIKE IN TRADITIONAL DRESS. WITH SHELLI WE USE ORIGAMI AS A WAY TO EXPRESS THE CONNECTION BETWEEN FASHION AND ARCHITECTURE BY USING THE SAME TECHNIQUES TO CREATE A STRUCTURAL IMPACT ON PIECES AS A “FASHIONABLE” PAVILION.
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HELEN
#helenishoute
EXPLORATION
HELEN’S HERRINGBONE PATTERN DRAWS ITS INSPIRATION FROM THE BRICK PAVERS OF THE PEDESTRIAN MALL ON WHICH IT SITS. BRICK PAVERS ARE THE BASIC FOUNDATION OF THE LANDSCAPE. THAT SAME SHAPE IS NATURAL TO THE SMALLER PV PANELS. THIS CREATES A NATURAL ABILITY TO REFLECT THE SURROUNDING IN OUR STRUCTURE. WE ALSO WANTED TO BLEND THE TWO TOGETHER. AS THE STRUCTURE OF THE PAVILION FANS OUT THE PATTERN SEEMS TO DISSOLVE INTO THE BRICKS OF THE PEDESTRIAN MALL. WITH TALK OF GLOBAL WARMING AND CLIMATE CHANGE STIRRING IN THE NEWS AND SOCIAL MEDIA, THERE IS A HEIGHTENED AWARENESS OF OUR LASTING I M P A C T O N O U R E N V I R O N M E N T. S O L A R E N E R G Y I S A M O N G T H E S O L U T I O N S W H I C H H A V E B E E N B R O U G H T I N F R O N T O F U S A S A S O C I E T Y. A S A R E A D I L Y RENEWABLE RESOURCE IT IS ONE THAT CAN EASILY BE INTEGRATED INTO ANY DIFFERENT PROJECTS, INCLUDING OUR PAVILION. HELEN SEEKS TO DO THIS BY INCORPORATING THE SOLAR PV PANELS INTO THE HERRINGBONE PATTERN OF PANELS WHICH CREATE ITS SIDE SURFACES.
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KINETIC COUTURE #korture
THE TRIANGULAR FABRIC FACADE WAS INSPIRED FROM COMMONLY USED FABRIC TECHNIQUES, SUCH AS THE REPEATED PETAL EXTRUSION YOU SEE ON CLOTHING. THE INITIAL PETAL FORM WAS THEN MODIFIED INTO A T R I A N G U L A R S H A P E A L L O W I N G F O R A M O R E T I M E - E F F I C I E N T, C L E A N , AND VISUALLY PLEASING SHAPE. KINETIC COUTURE IS USED TO INSPIRER PASSERBYS AND FASHION DESIGNERS. THE TWO SIDED TRIANGLES GIVE A SENSE OF “DAY AND NIGHT” BEING MIXED TOGETHER. THE VARIATION IN NATURAL LIGHTING ALLOWS THE PAVILION TO BREATHE NEW LIFE T H R O U G H O U T T H E D A Y. N O T O N L Y D O E S T H E E V E N I N G L I G H T I N G A L L O W T H E U S E R T O A P P R E C I A T E T H E P A V I L I O N I N A D I F F E R E N T L I G H T, B U T A L S O A L L O W S T H E P A V I L I O N T O C A S T S H A D O W S U P O N I T S E L F A N D T H E A R E A A R O U N D I T.
FABRIC
EXPLORATION
STRUCTURE SEATING REFLECTIVE
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NIMBUS #nimbus #nimrod
SECTION A
A
B B
EXPLORATION
T H R E E M A I N P L A N E S E X I S T T H R O U G H O U T T H E P A V I L I O N . F I R S T, I S T H E P H Y S I C A L P L A N E : B R O W S I N G T H E I N T E R N E T, P O S T I N G T O S O C I A L MEDIA, ETC. SECOND, THERE IS A TRANSFER OF DATA ON AN UNSEEN P L A N E . L A S T L Y, T H E D A T A S H O W S I T S E L F O N A S E P A R A T E P L A N E T H A N THE PHYSICAL PLANE, BUT MAINTAINS THE BASIC FORMS AND IDEAS BROUGHT ABOUT FROM THAT INITIAL INTERACTION. NIMBUS COMBINES THE IDEA OF AN INSTINCTUAL ACTION: SITTING DOWN, LAYING DOWN, CHARGING A PHONE, ETC., WITH A PERCEIVABLE RESPONSE. NIMBUS IS SEPARATED INTO 3 PLANES. THE GROUND PLANE PROVIDES THE BASIS FOR THE PHYSICAL INTERACTION. USERS SIT OR LAY DOWN WHICH SENDS A SIGNAL THROUGH THE MIDDLE PLANE OF THE PAVILION. THE THIRD PLANE EXISTS ABOVE, AND EXHIBITS THE RESPONSE FROM THE PHYSICAL INPUT THROUGH TRANSFER OF LIGHT COLOR. THE CLOUD OF DATA FORMS DENSE NODES CONNECTED BY THINNER STRANDS. LIGHTS REPRESENT THE TRANSFER OF DATA FROM THE USER’S INNATE INTERACTION INTO THE CLOUD ALLOWING THEM TO EXPERIENCE THE TRANSFER.
A
SECTION B
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Pavilions simultaneously create tools for transformative action and develop visions of new social realities. By blurring light, color, and cloud fragmented reflections, the numerous iterations in search for the final design presented a space to confront individual identities and embody political undercurrents of the Flyover Fashion Festival.
FINAL PROPOSAL
Through transparency, form, and light, IM_RU challenges users with reflections of their incomplete selves and considers the role of the individual in the summation of societal identity. Presented is a Grasshopper coded parametric pavilion.
FORM ITERATIONS
FINAL PROPOSAL
THE GRASSHOPPER SCRIPT GENERATED A VARIETY OF DESIGN ITERATIONS, ALLOWING US TO EVALUATE AND SELECT THE STRONGEST DESIGN STRUCTURALLY AND V I S U A L L Y. THE CURVED WALLS CREATED GREATER DEPTH TO THE ALREADY PIXELATED ELEVATIONS.
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PROJECT 6” CUBES ONTO THE SURFACE
SELECT CURVE 3 TO DEFINE STRUCTURAL SPINE
7
6
LOFT CURVE 1 + 3 TO CREATE A SURFACE
PROJECT 6” CUBES ONTO THE SURFACE
4 5 1
SELECT CURVE 1 TO DEFINE CIRCULATION PATH
2
LOFT CURVE 2 + 3 TO CREATE A SURFACE
SELECT CURVE 2 TO DEFINE CIRCULATION PATH
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FINAL PROPOSAL
3
FINAL PROPOSAL ISU FABRICATING POTENTIALS | 68
IM_RU FINAL ITERATION
IM_RU IS INSPIRED BY THE ACTIVIST AND CREATIVE INDIVIDUALS PROMOTING SELF AWARENESS AND ACCEPTANCE AT IOWA CITY’S FLY OVER FASHION F E S T. I M _ R U A S K S T H E Q U E S T I O N , “ I A M A R E Y O U ? ” I AM LIVING MY TRUTH, ARE YOU? I AM IMPACTING OTHERS, ARE YOU?
FINAL ITERATION ISU FABRICATING POTENTIALS | 72
FINAL ITERATION
DUBUQUE STREET
WASHINGTON STREET
IOWA CITY, IOWA 1’
6’
16’
ISU FABRICATING POTENTIALS | 74
FINAL ITERATION ISU FABRICATING POTENTIALS | 76
6” 8” 10” 12”
BOX TYPES
MINIMUM
MINIMUM
MAXIMUM
MAXIMUM
STRESS ANALYSIS
DEFORMATION
MIRROR INLAY
FINAL ITERATION
W I D T H 6 ” x H E I G H T 6 ” x D E P T H __
WIRE FRAME | 3D JOINTS
CONCRETE BASE ISU FABRICATING POTENTIALS | 78
FINAL ITERATION ISU FABRICATING POTENTIALS | 80
THROUGH OUR DESIGN PROCESS WE’VE EXPERIMENTED WITH A HANDFUL OF MATERIALS AND TECHNOLOGIES. MATERIALS EXPLORED INCLUDE WOOD, METAL, FABRIC, PLASTIC, ACRYLIC, PLEXIGLASS, CONCRETE, PVC PIPING ETC. WE ALSO WORKED WITH TECHNOLOGIES SUCH AS CNC ROUTING, DREMEL 3D PRINTERS, DI WIRE BENDER, ARDUINO SENSOR COMPUTING, AND LIGHTING.
IM_RU COMPONENTS
F I N A L M A T E R I A L L I S T: 3D PRINTED JOINTS 1/8” GALVANIZED STEEL RODS 6” X 6” PLEXIGLASS MIRROR CONCRETE LED LIGHTS
MIRROR INLAY RESEARCH OF THE FLYOVER FASHION FEST AND THE LINEUP OF ACTIVIST I N V O L V E D , P R O M O T I N G S E L F R E S P E C T A N D A C C E P T A N C E O F O N E S E L F. W E F O U N D R E F L E C T I O N C O M I N G U P I N C O N V E R S A T I O N R E P E A T E D L Y. T H I S L E D TO OUR EXPERIMENTATION WITH MIRRORS. BASED ON OUR CONCEPT OF A FALSE SENSE OF SELF AND PIXELATED IMAGE OF REALITY WE DECIDED TO S C A L E D O W N T H E M I R R O R S I Z E T O C R E A T E A D I S T O R T I O N E F F E C T. A F T E R EXPLORING CUTTING MIRRORS BY HAND WE OUTSOURCE THE MIRROR CUTTING PRODUCTION AND SPEND OUR TIME FURTHER DEVELOPING OUR IDEATION. THE MIRRORS WILL BE DONATED AFTERWARDS TO THE FIGGIE ART MUSEUM IN DAVENPORT IOWA FOR FURTHER INSTALLATIONS.
COMPONENTS
SUPPLIER: COUNTRY PLASTICS, AMES, IA Q U A N T I T Y: 4 0 0 6 ” X 6 ” P L E X I G L A S S M I R R O R S
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THROUGH EACH ITERATION OF OUR DESIGN PROCESS WE’VE DESIGNED AND PRINTED A MULTITUDE OF 3D PRINTED JOINTS TO BE TESTED TO BECOME OUR FINAL CONNECTION POINT WITHIN OUR PAVILION. WE’VE MET OUR SHARE OF DIFFICULTIES AND SET BACKS THROUGH THIS PROCESS, WHETHER THAT BE USER ERROR OR TECHNOLOGICAL GLITCHES. THE J O I N T W A S C R E A T E D T O E N H A N C E S T R E N G T H A N D D U R A B I L I T Y. AFTER COMPLETION OF THE PAVILIONS LIFE, THE 3D PRINTED JOINTS WILL BE TURNED BACK INTO FILAMENT FOR REUSE BY THE FILABOT MACHINE.
J O I N T Q U A N T I T Y: 4,144 JOINTS = 1,036 BLOCKS W I R E Q U A N T I T Y: 1/8” DIA. STAINLESS STEEL WIRE 12’ X (670) = 8,040 LINEAR FT
SNAP CLIPS— USED TO CLIP MIRRORS TO WIRE, AND WIRE FRAMES TOGETHER 3 WAY JOINT— USE TO CREATE WIRE BLOCK FORMS
CUBE JOINT— EXTRA MATERIAL WAS HELPFUL IN STRENGTHENING THE JOINTS.
TRIANGULAR JOINT— ALLOWS SPACE FOR THE MIRRORS TO SLIDE IN FOR THE BLOCKS TO CONNECT W I T H O U T A N O T H E R J O I N T.
COMPONENTS
WIRE FRAME | 3D JOINTS
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CONCRETE BASE CONCRETE BLOCKS MIMICKING OUR WIRE CUBES WERE INCORPORATED FOR EXTRA STABILITY BUT BECAME A VITAL PART IN DESIGNING A LIGHT INTO THEIR STRUCTURE. WE BUILT A MOLD INCORPORATING WIRE INTO ITS FORM TO CONNECT THE REST OF OUR MODEL INTO, AS WELL AS A HOLE FIT FOR OUR LIGHTING SYSTEM. WE USED PROFINISH 5000 SO WE COULD HAVE THE SMOOTHEST CONCRETE OUTCOME WITHOUT HAVING TO SIFT THE MIX. OUR DESIGNED CALLED FOR THREE DIFFERENT SIZES OF CONCRETE BLOCKS PLACED THROUGHOUT THE BASE OF OUR PAVILION.
COMPONENTS
SIZES | QUANTITY A=6” X 6” X 4.8” (30) B=6” X 6” X 7 1/4” (16) C=6”X 6” X 9 2/3” (3)
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LIGHTING
COMPONENTS
INCORPORATING LIGHT PLAYS A KEY PART IN THE DESIGN OF IM_RU. THE LIGHT IS USED TO HIGHLIGHT THE PAVILIONS KEY FEATURES. THE LIGHT BOUNCES OFF THE REFLECTIVENESS OF THE MIRRORS AND WIRE CASTING DYNAMIC GEOMETRIC SHADOWS ON SURROUNDING SURFACES. LUMENS AND L I G H T D I S T A N C E P R O J E C T I O N W E R E I M P O R T A N T W H E N S E L E C T I N G A L I G H T. WE LOOKED INTO BATTERY POWERED VS. HARD WIRED LIGHTING. BATTERY POWERED LIGHTING WAS THE FINAL DECISION FOR OUR AMBIENT LIGHT IN ORDER TO INCORPORATE MORE LIGHTS WITHOUT HAVING TO HIDE WIRES. THE CONCRETE BLOCKS HELD SMALL LED FLASHLIGHTS THAT CREATED T H E D R A M A T I C S P R E A D O F L I G H T T H R O U G H T H E P A V I L I O N S W A L K W A Y. EACH MIRROR HAD A SMALL HOLE ON THE TOP OF THE MIRROR WHERE A B L U E L E D L I G H T S E T, H E L D I N P L A C E W I T H A 3 D P R I N T E D H O O K S Y S T E M .
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IM_RU MIRRORS WHAT IT SEES IN ALL DIRECTIONS, MOMENTARILY EXPANDING AND CONFUSING WHAT IS OTHERWISE THE PEDMALL’S EASTERN BORDER. THE PAVILION’S FORM IS COMPRISED OF MULTIPLE, MODULATORY WALLS, PROVIDING FACADES FOR VIEWERS TO EXPLORE AND ENGAGE WITH.
IM_RU CONSTRUCTION
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DESIGN STUDIO: AMES, IA D I S T A N C E T R A V E L E D : 1 4 0 M I L E S D E S T I N A T I O N : I O W A C I T Y, I A
IM_RU INSTALLATION
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INTRODUCING IM_RU
IM_RU WAS SUBMITTED AS A PROJECT TO THE 2017 ACADIA CONFERENCE HELD THIS YEAR AT THE MIT MEDIA LAB. IM_RU WAS AMONG THE FEWER THAN TWENTY PERCENT OF SUBMISSION ACCEPTED TO THE CONFERENCE. IT WAS ONE OF FIVE SELECTED FROM THIRTY ACADIA PROJECTS TO BE PRESENTED ON THE MAIN STAGE OF MIT’S MEDIA LAB DURING THE FIRST SESSION OF THE CONFERENCE.
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IM_RU: LOCAL NEWS
IM_RU
WE TOOK OUR PAVILION TO SEVERAL DIFFERENT SOCIAL MEDIA PLATFORMS: INSTAGRAM, FACEBOOK, S N A P C H A T. COLLECTING DATA AND FEEDBACK FROM PEERS AND OTHER DESIGNERS WHILE PROMOTING WHAT WE’VE LEARNED THROUGH OUR COLLEGIATE CAREERS IS CRUCIAL TO OUR GROWTH AS DESIGNERS. #IM_RU
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IM_RU
IM_RU: SNAPCHAT
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IM_RU
IM_RU: INSTAGRAM
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STA R T T I M E : 9 : 0 0 A M , M AY 5 2 0 1 7
IM_RU
F I N I S H T I M E : 5 : 3 0 P M , M A Y 5 2 0 1 7
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I OWA STAT E U N I V E R S I T Y FA B R I C AT I N G P OT E N T I A L S 2 0 1 7 @isudesignbuild #im_ru