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 LS 2 0 1 7
IM_RU
6 ARCHITECTURE 5 INTERIOR 4 LANDSCAPE ARCHITECTURE 15 STUDENTS INTENSE RESEARCH RAPID IDEATION INTEGRATED TECHNOLOGY
1 PAVILION
IM_RU’S
STUDIO
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. THIS STUDIO’S PURPOSE IS TO DESIGN AND CONSTRUCT A TEMPORARY STRUCTURE WHICH PROPOSES AN INTERFACE BETWEEN DIGITAL AND PHYSICAL SPACE. TEMPORARY STRUCTURES ARE A BROAD FIELD AND CAN INCLUDE EVERYTHING FROM UBIQUITOUS CONCRETE FORM-WORKS TO INNOVATIVE EMERGENCY HOUSING. METHODS WILL INCLUDE 3D PRINTING, CNC WIRE BENDING AND, 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
ARCHITECTURE 2018
INTERIOR DESIGN 2017
SLACKER OR OVER-
ORANGE JUICE OR
ACHIEVER?
APPLE JUICE?
ANSWER:
ANSWER:
THAT’S A TOUGH ONE
DOES IT HAVE PULP?
JOSH COBLER
KALE BAHNE PAULSEN
ARCHITECTURE 2018
ARCHITECTURE 2018
HONEY MUSTARD
TATTOO OR PIERCING?
OR BBQ SAUCE?
ANSWER:
ANSWER:
PIERCINGS, BUT THAT
BBQ
WILL CHANGE
JENNA STRASSER
MARIA NOVACEK
INTERIOR DESIGN 2017
LANDSCAPE ARCH. 2017
PANCAKE OR WAFFLE?
RURAL OR URBAN?
ANSWER:
ANSWER:
CAN’T WAIT TO GET A
WHY CHOOSE? I AM
MOUTHFUL!
BOTH
JAKE OSWALD
JAEHEE HWANG
LANDSCAPE ARCH. 2017
ARCHITECTURE 2017
TO BE OR NOT TO BE?
COFFEE OR TEA?
ANSWER:
ANSWER:
WHAT THE HECK DOES
CAFFEINE PLEASE!
THAT MEAN?
IM_RU’S
CREW
ERIN HUNT
BILLY PAUSBACK
ARCHITECTURE 2017
LANDSCAPE ARCH. 2017
MAC OR PC?
CRUSHED ICE OR CUBED
ANSWER:
ICE?
PC
ANSWER: CUBED
NICK DENTAMARO
ALEXA BARR
LANDSCAPE ARCH. 2017
INTERIOR DESIGN 2017
SUNRISE OR SUNSET?
COMEDY OR MYSTERY?
ANSWER:
ANSWER:
SUNRISES
COMEDY
SANDY LIAO
CASSIE COOK
ARCHITECTURE 2017
INTERIOR DESIGN 2017
CHOCOLATE OR
LEATHER OR DENIM?
VANILLA?
ANSWER:
ANSWER:
ALL OF THE ABOVE!
CAN I HAVE BOTH? JOELLE SWANSON
SHELBY DOYLE
INTERIOR DESIGN 2017
PROFESSOR
DANCING OR SINGING?
ONE OR TWO SLICES OF
ANSWER:
TOAST?
AM I ALLOWED TO SAY
ANSWER:
BOTH?
TWO SLICES!
IM_RU’S
TIMELINE
07-10
F LY O V E R F A S H I O N F E S T
11-18
FA S H I O N M E T H O D O LO GY
19-26
MOMA PS1 CASE STUDIES
27-60
E X P LO R AT I O N
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
F LY O V E R F A S H I O N F E S T #flyoverfashionfest
F LY O V E R F A S H I O N F E S T I V A L I S A T W O - D A Y E V E N T THAT FEATURES EMERGING FASHION, DESIGN AND C R E AT I V E TA L E N T T H R O U G H A U N I Q U E M I X O F R U N WAY SHOWS, DISCUSSIONS, EXHIBITIONS, AND MUSICAL PERFORMANCES.
A
WIDE
VARIETY
OF
FASHION,
ART AND MUSIC WILL TAKE CENTER STAGE AT THE F E ST I VA L . I T I S LO C AT E D I N T H E P E D E DT R I A N M A L L 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 LY O V E R F A S H I O N F E S T. T H E 2 0 1 7 F E S T I V A L BRINGS DESIGNERS AND ACTIVIST FROM ALL OVER THE
UNITED
STATES.
THE
FESTIVAL
SHOWCASES
T H E C R E A T I V E N E S S A N D T A L E N T O F T H E M I D W E S T, P R O V I N G I O W A I S M U C H M O R E T H A N A F LY O V E R S T A T E .
FASHION FESTIVAL ISU FABRICATING POTENTIALS | 10
FA S H I O N M E T H O D O LO GY 6 CASE STUDIES
IRIS VAN HERPEN
IRIS VAN HERPEN IRIS VAN HERPEN’S F I R ST R U N WAY S H OW B E G A N I N 2 0 0 7 . H E R PA S S I O N IS BLENDING THE LINES BETWEEN THE PAST AND FUTURE. SHE’S NOT A F R A I D O F T E C H N O LO GY A N D F I N D S N E W WAYS TO F U S E T E C H N O LO GY A N D T R A D I T I O N A L C R A F T S M A N S H I P. 3 D P R I N T I N G I S H E R M A I N F A B R I C A T I O N T E C H N I Q U E . T H I S FA B R I C AT I O N T E C H N I Q U E A L LOW S H E R TO C O N ST R U C T I N A SCULPTURAL MANOR. SHE HAS BEEN CALLED THE “NEW COUTURE” PIONEER. H E R L I N E , “ B E T W E E N T H E L I N E S ” , E X P LO R E S T H E I M P E R F E C T I O N O F SYST E M S & STRUCTURE IN BOTH THE PHYSICAL & DIGITAL WORLD. IN HER PIECES SHE FOCUSES ON THE GAPS BETWEEN MATERIALS, THE SILHOUETTES AND, THE LINES THEY CREATE. THIS COLLECTION CONSIST OF LINEAR SHIFTS AND SHARP CONTRAST B E T W E E N L I G H T A N D 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 BEESLEY SHE HAS USED SOFT 3D HAND-CASTED PU FABRICS THAT ARE HANDPAINTED THROUGH INJECTION MOLDING AND EXPANDABLE LASER-CUT MYLAR.
T H I S T E C H N I Q U E I S A N E W A N D I N N OVAT I V E WAY TO C O M B I N E T H E O L D JAPANESE TECHNIQUE OF ORIGAMI WITH HIGH FASHION. THE FORMS ARE INSPIRED BY ARCHITECTURAL FORMS. IN ORDER TO ACHIEVE THE ORIGAMI AND STRUCTURAL AESTHETIC OF: PLEATING, FOLDING, CUTTING, CURLING, AND MANIPULATING FABRIC ARE IMPLEMENTED TO CREATE A WEARABLE F O R M . T H E S E M A N I P U L A T I O N S C A N H A V E A S I G N I F I C A N T V I S U A L I M P A C T. MATERIALS: 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
ORIGAMI FASHION
INTERACTIVE TEXTILES T E C H N O LO GY H A S C R E P T I T S WAY I N TO T H E T E X T I L E A N D FA S H I O N I N D U S T R Y. A D V A N C E M E N T S O F 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 H A V E LEAD TO INCREDIBLE PIECES OF FASHION. THE YING GAO COLLECTIONS A R E A C O N S T A N T 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 . THEY 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 B R I N G L I G H T TO A N O B J E C T W I T H O U T H AV I N G TO U S E E L E C T RO N I C S . IN RELATION TO THE DESIGN OF A PAVILION. GAO SHOWS THE VERSATILITY OF FABRIC, BOTH S T R U C T U R A L LY AND F O R M A L LY. THE DESIGNS PUSH THE LIMITS OF WHAT FABRIC AND FASHION CAN ACCOMPLISH.
T H E S E W E A R A B L E S A R E 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 . D A I S Y C O N S T R U C T S E A C H P I E C E B Y H A N D U S I N G B A L L O N S . A LT H O U G H T H E M AT E R I A LS A R E I N E X P E N S I V E , A B O U T 9 C E N T S P E R B A L LO O N , T H E S E CREATIONS CARRY A HEFTY PRICE TAG RANGING FROM 1,930 TO 3,860 DOLLARS.
ISU FABRICATING POTENTIALS | 16
METHODOLOGY
INFLATABLE FASHION
SMOKE DRESS A N O U K W I P P R E C H T & N I C C O LO C A S A S 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 LY 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 D R E S S I S 3 D P R I N T E D W I T H P O LY A M I D E A N D T P U 9 2 A - 1 ( T H E R M O P L A S T I C P O LY U R E T H A N E ) , T H E D R E S S F U L LY U T I L I Z E S 3 D P R I N T I N G M A T E R I A L . T H I S PRINTED MATERIAL IS USED TO HOUSE EMBEDDED PROXIMITY SENSORS THAT TRIGGER THE SMOKE MACHINE MOUNTED MID-BACK. SMOKE DRESS S P E A K S TO T H E E V E R - D E C R E A S I N G D I STA N C E B E T W E E N T E C H N O LO GY A N D 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 .
WINDE RIENSTRA’S CREATION, REFLECTIONS IN FACETS, IS INSPIRED BY HER AT T R AC T I O N TO T H E WAY O U T E R W E A R E STA B L I S H E S S PAC I A L R E L AT I O N S H I P S . BY INCORPORATING ARCHITECTURAL COMPONENTS, WINDE CONSTRUCTS A S E N S E O F B A L A N C E B E T W E E N C LOT H I N G A N D ST R U C T U R E . S H E C R E AT E S C L O T H I N G T H A T A D O P T S T R A D I T I O N A L C U LT U R A L F O R M A N D A E S T H E T I C S TRANSFORMING THEM INTO MODERNISTIC ATTIRE. HER AMBITION TOWARD D E V E LO P I N G T H E C LOT H I N G S E R I E S WA S TO D E S I G N C LOT H I N G T H AT WO U L D B E C O M E A LT E R E D I N A P P E A R A N C E A S L I G H T C H A N G E S , T H U S R E S U LT I N G 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 A T E R I A L P A L E T T E IS MINIMALISTIC, SHE P O R T R AYS STRONG ELEMENTS OF CONTRAST WITH THE INCORPORATION OF WOOD, SILK, AND GLASS INTO HER PIECE.
ISU FABRICATING POTENTIALS | 18
METHODOLOGY
REFLECTIONS IN FACETS
MOMA PS1 6 CASE STUDIES
ESTABLISHED IN 2000, THE MUSEUM OF MODERN ART A N D M O M A P S 1 J O I N T LY P R E S E N T T H E M O M A P S 1 YO U N G A RC H I T E C T S P RO G R A M ( YA P ) . T H I S A N N U A L COMPETITION
GIVES
OPPORTUNITY
TO
EMERGING
BUILD
ARCHITECTS
PROJECTS
THE
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 TO
MOMA
PS1’S
COMPLIMENT
BUILDING
C O U R T YA R D
MAXXI’S
DESIGNED
BY
AND
ANOTHER
CELEBRATED,
ZAHA
HADID
IN
NEW ROME.
THE OBJECTIVE OF THE PROJECT IS TO PROVIDE VISITORS WITH AN OUTDOOR RECREATIONAL AREA FOR IN THE
THE AN
SUMMER,
URBAN
MUCH
NEEDED
E N V I R O N M E N T,
MAKING
PRE-EXISTING
ARCHITECTS
A
SPACE
FO L LOW
A
AND
REFUGE USE
MATERIALS.
PROGRAM
WITH
A
OF THE
TIGHT
B U D G E T, A N D A R E I N V O LV 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 OF
THE
P R O J E C T.
THE
SITE,
MOMA
PS1’S
LARGE
T R I A N G U L A R E N T R A N C E C O U R T YA R D A N D O U T D O O R SCULPTURE AREA, IS AN INTEGRAL PART OF THE MUSEUM. WE USED THIS RESEARCH TO INSPIRE AND I N FO R M O U R PAV I L I O N D E V E LO P M E N T A N D D E S I G N .
DUNESCAPE 2000 GREGG PASQUARELLI SHOP ARCHITECTS D U N E S C A P E A L LOW S V I S I TO R S TO S O C I A L I Z E , LO U N G E A RO U N D , S U N B AT H E AND, COOL OFF WITH MISTING WATER. AS WELL AS SPLASH THROUGH POOLS. D U N E S C A P E ’ S M U LT I - D I M E N S I O N A L D E S I G N A L L O W E D T H E H E I G H T E N E D S E C T I O N S O F T H E A S S E M B LY T O S H A D E , W H I L E L O W E R S E C T I O N S C O U L D BE USED AS SEATING AREAS. ONE SECTION OF THE DESIGN INCORPORATED I N D I V I D U A L C A B A N A S W H E R E V I S I TO R S C O U L D C H A N G E T H E I R C LOT H E S . T H I S 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 C O U R T YA R D W H I C H C O L L E C T T H I S WAT E R A N D T H E N D I S P E R S E S I T I N TO T H E AIR CREATING A MIST GARDEN. “WE HAD BEEN EXPERIMENTING WITH DIGITAL S I M U L A T I O N A N D A N I M A T I O N D E S I G N T E C H N I Q U E S A S W E L L A S R E A L LY T R Y I N G TO PUSH THE IDEA OF ʻPERFORMANCE-BASED DESIGN,’ THE MAIN INTEREST WAS TRANSLATING THE DIGITAL INTO THE ACTUAL.” ‒ GREGG PASQUARELLI
D E S I G N E D A S A C I RC U S O R P L AYG RO U N D , “ S U R ” H A S N O N A R R AT I V E ; I T E X I ST S O N LY A S A C R E A T I V E P L A T F O R M F O R H U M A N I N T E R A C T I O N . 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 A N I M A G I N E D , D E C E A S E D , E X T R A T E R R E S T R I A L M O N S T E R . A LT H O U G H T H E A L I E N S K E L E T O N F O R M C A R R I E S A CONSISTENT LANGUAGE, SLIGHT VARIATIONS ACROSS THE ENTIRE PIECE RESTRAIN THE USER FROM UNDERSTANDING IT ALL AT ONCE. THEREFORE, THE S K E L E T O N P L A Y G R O U N D M U S T B E E X P L O R E D A N D D I S C O V E R E D G R A D U A L LY. U S E O F PA R A M E T R I C M O D E L I N G WA S U T I L I Z E D FO R T H E D E V E LO P M E N T O F T H E 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.
ISU FABRICATING POTENTIALS | 22
MOMA PS1
S U R 2 0 0 5 H E R M A N D I A S A LO N S O +XEFIROTARCHSUR
BEATFUSE! 2006 OBRA ARCHITECTS OBRA DESIGNED THE STRUCTURE WITH LARGE TRIANGULAR OUTDOOR SHELLS, W H I C H W E R E A S S E M B L E D A N D M A N U F A C T U R E D W I T H I N T H E I R O W N W O R K S H O P, AND THEN LATER RECONSTRUCTED ON SITE. THE SHELLS FEATURE ACCORDIONL I K E C H A R A C T E R I S T I C S W I T H T H E A B I L I T Y T O F O L D R E L A T I V E LY S M A L L F O R TRANSPORTATION. THE FIRM REFERRED TO THESE SHELLS AS CONCERTINA. T H E C O N C E R T I N A ’ S W E R E M O D E L E D A N D M A N U F A C T U R E D D I G I T A L LY A N D FABRICATED WITH A CNC ROUTER. THIS PROVIDED THE ENERGETIC CURVED F O R M . A S K I N O F P O LY P R O P Y L E N E M E S H S C A L E S A L L O W E D F O R W I N D AND RAIN TO PASS THROUGH THE PAVILION. IN ORDER TO COVER THE PERFORATION, MATERIAL RETRACTS INTO ITS ORIGINAL DESIGN SHAPE, DUE T O E N V I R O N M E N T A L S H I F T S , C A P I T A L I Z I N G O N T H E M A T E R I A L ’ S E L A S T I C I T Y.
L I Q U I D S K Y U S E S T R A N S L U C E N T M Y L A R PA N E LS T I N T E D I N FO U R C O LO R S . T H E S E P I E C E S F I LT E R E D T H E S U N L I G H T A N D C A S T E D D A N C I N G S H A D O W S A C R O S S THE SURROUNDING CONCRETE SURFACES. WOODEN UTILITY POLE TRIPODS P U S H E D T H E M Y L A R P A N E L S U P W A R D C R E A T I N G T E N T- L I K E S H A P E S . T H E S E TRIPODS ALSO CREATED THE STRUCTURE FOR NETTED HAMMOCK SEATING AREAS DESIGNED BY ARTIST SHEILA PEPE. SIMILAR TO THE MAIN GALLERY PIECES IT IS SUPPORTED BY UTILITY POLES. HOWEVER THESE TRIPODS ARE E Q U I P P E D W I T H WAT E R B U C K E T S 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 LO W. LIQUID SKY INCORPORATES SHADING, SEATING, AND A WATER FEATURE IN A C O H E S I V E D E S I G N . S I M P L E ST R U C T U R A L E L E M E N T S A L LOW M O R E I N T R I C AT E A N D E X C I T I N G 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 LV E S D A Y B Y D A Y.
ISU FABRICATING POTENTIALS | 24
MOMA PS1
LIQUID SKY 2007 NOGUES
WENDY 2012 HWKN W E N DY E X P E R I M E N T S T H E B O U N DA R I E S O F A RC H I T E C T U R E A N D E C O LO G I C A L / S O C I A L E F F E C T S . I T C L E A R S A I R P O L L U T I O N BY B LOW I N G W I N D T H RO U G H ITS SPECIALIZED FABRIC. AS WELL AS COOLING DOWN THE HEAT OF NEW YORK’S SUMMER BY MISTING WATER UPON THE PUBLIC GROUND, WHICH ALSO C R E AT E S Z O N E S O F D I V E R S I F I E D S O C I A L AC T I V I T I E S I N T H E C O U R T YA R D O F MOMA. WENDY FEATURES A SIMPLE, INEXPENSIVE CONSTRUCTION SYSTEM THAT IS ALSO AVOIDED IN COMMON ARCHITECTURAL WORKS: THE FABRICS ARE SEWED TOGETHER TO CREATE PYRAMID-SHAPED TUBES, WHICH IS STRETCHED A C R O S S T H E M U LT I - C U B E S T R U C T U R E , C R E A T I N G T H E L A R G E S T S U R F A C E AREA POSSIBLE WITHIN THE 56’ X 56’ X 46’ VOLUME SITE. THE STRUCTURE CREATES A FREE-STANDING 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.
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 AN ASSEMBLAGE OF ECOSYSTEMS THAT IS ABLE TO PURIFY THREET H O U S A N D G A L LO N S O F WAT E R . T H E I N ST I L L AT I O N I S C H A R AC T E R I Z E D 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 LO 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 P I VOT S . W I T H T H I S L I G H T ST R U C T U R A L LO G I C , T H E I N STA L L AT I O N H A S T H E ABILITY TO BECOME MOBILE. HOWEVER, COSMO CAN TRAVEL NOT JUST P H Y S I C A L LY B U T D I G I T A L LY A S W E L L . S E N S O R S W E R E P L A C E D W I T H I N T H E WAT E R S A L LOW I N G C O S M O TO P RO D U C E DATA W H I C H C A N B E R E L AY E D ONLINE IN ORDER TO BETTER INFORM ITS AUDIENCE AND THE PUBLIC.
ISU FABRICATING POTENTIALS | 26
MOMA PS1
COSMO 2015 ANDRES JAQUE OFFICE FOR POLITICAL INNOVATION
E X P LO R AT I O N
IDEATION IS THE FIRST STEP TO CREATION. DURING THE BEGINNING STAGES OF DESIGN WE BROKE INTO SMALL FOUR PERSON TEAMS TO INVESTIGATE FORM, ST R U C T U R E , A N D L I G H T I N G I N T E G R AT I O N . A LO N G WITH SKETCHES WE WORKED WITH LED CIRCUIT STICKERS TO UNDERSTAND HOW LIGHTING COULD BE INTEGRATED WITHIN A DESIGN. SMALL SCALE MODELS WERE PRODUCED TO SHOW DETAILED CONNECTIVITY OF THE LARGER STRUCTURES.
“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.” -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 f a b r i c 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 the center of the object allows for the object, and thus the entire pavilion as a w h o l e , t o b e c o m e k i n e t i c . H o w e v e r, this machinery 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.” -Austin Demers
“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, t o design, to designer is amplified. A pavilion does not exist as a complete d e s i g n . I t e x i s t s a s a s t u d y. A p a v i l i o n should be entirely accessible to the p a s s e r b y. I t s u s e r s s h o u l d n o t w o n d e r 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.” -Josh Cobler
“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 e n g u l f i n g t h e i n t e r i o r. T h e i n s i d e o f the 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
ISU FABRICATING POTENTIALS | 30
EXPLORATION
“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 i n t e r a c t i o n s , m o v e m e n t , a n d p l a y. T h e pavilion can be, but 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, but most i m p o r t a n t l y, r e f r a i n f r o m a f i c t i o n a l 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.”
CONTINUUM #continuumpavilion
THE EXTERIOR OF THE PAVILION IS A CONTINUAL ORGANIC SHAPE THAT MOVES AS YOU WALK AROUND AS WELL AS WITHIN THE STRUCTURE. K E E P I N G T H E E X T E R I O R C O N S I S T E N T A N D S E E M I N G LY E N D L E S S , I N T R I G U E S U S E R S F RO M A FA R A S W E L L A S U P C LO S E . T H E L AY E R I N G O F M AT E R I A LS , 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. O N E W A Y 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 W I T H I N , T H E L I G H T S C A N E I T H E R C H A N G E C O LO R S / I N T E N S I T Y O R O F F A N D ON. THIS DIGITAL INTERACTION CAN PROVIDE INTEREST AND MAKE THE S T R U C T U R E A P P E A R T O A L W A Y S B E E V O LV I N G A N D T H E R E O F R E , D I F F E R E N T
EXPLORATION ISU FABRICATING POTENTIALS | 32
KALEIDO #kaleido
U S I N G O N LY S I M P L E S H A P E S A N D S U B T L E C H A N G E S , A K A L E I D O S C O P E C R E A T E S A P A N O P LY O F B E A U T I F U L P A T T E R N S . I N G R E E K , K A L E I D O M E A N S “BEAUTIFUL SHAPE.” IN THE CASE OF THIS PAVILION, KALEIDO, AN ELEMENTARY S H A P E , I S M O D U L AT E D . B U I L D I N G B LO C K S R E P L I C AT E D FO R T H E C R E AT I O N 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 C A T A C O M B O F F A B R I C S , C O M P L E T E LY C O N C E A L I N G W H A T L I E S B E Y O N D .
EXPLORATION 3/4”
0” 1/4”
1”
ISU FABRICATING POTENTIALS | 34
ENIGMA #isuenigma
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, T H E U S E R C A N S L I D E T H E P A N E L S V E R T I C A L LY T O C R E A T E T H E L E V E L O F P R O T E C T I O N T H A T T H E Y F E E L 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 LY. E N I G M A I S B U I L T 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 LY W R A P P E D I N A P O LY- 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 S E R P E N T I N E S H A P E D B E A M T H AT R U N S A LO N G T H E G RO U N D P L A N E A N D 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.
EXPLORATION ISU FABRICATING POTENTIALS | 36
TESSA
#tessatakesthefest 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 S N A T U R A L LY. 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 P U R E A N D S T R U C T U R A L LY S O U N D M O D U L A T I O N I N A L L D I M E N S I O N S , AN OPPORTUNISTIC TRAIT TO POSSESS IN SPATIAL E X P LO R AT I O N S . MOREOVER, EVERY POINT OF PLANAR INTERSECTION ON THE TRUNCATED OCTAHEDRON IS IDENTICAL, MAKING THE PRODUCTION OF JOINTS A BREEZE. U N L I K E I T S P R E D E C E S S O R , K A L E I D O , M O D U L E S A R E C R E A T E D I N D I V I D U A L LY AND SNAPPED TOGETHER, THE TRUNCATED OCTAHEDRONS ACT AS LIFES I Z E D B U I L D I N G B LO C K S T H AT C A N AT TAC H O N TO O N E A N OT H E R AT A N Y FACE. FINAL PAVILION FORMS CAN BE GEOMETRIC OR ANAMORPHIC, SOLID OR PERFORATED, PATTERNED OR GRADATED. THE OCTAHEDRON GIVES TESSA THE C A P A C I T Y T O D E F I N E S P A C E S W I T H E N T I R E LY O R G A N I C F O R M W H I L E S T I L L 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.
EXPLORATION ISU FABRICATING POTENTIALS | 38
PIXEL #pixelpath
#pixelstitch 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. S P O R A D I C A L LY 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 LO W. D E P E N D I N G O N O N E ’ S ENTRY POSITION THE EXPERIENCE CHANGES. FROM ONE END THE FABRIC IS PULLED TIGHT CROSSING THROUGH THE SPACE CREATING AND ENERGETIC LED O F M O V E M E N T. A S O N E C O N T I N U E S T H R O U G H T H E F A B R I C L O O S E N S I T S R E I G N S AND FREES ITSELF FROM TENSION. IF ONE TRAVELS THROUGH THE OPPOSITE W A Y, T H E E X P E R I E N C E I S F L I P P E D A N D T H E E M O T I O N A L I M P A C T I S R E V E R S E D .
EXPLORATION ISU FABRICATING POTENTIALS | 40
BALEFIRE #flame
#lit2017 BALEFIRE EXTENDS PAST THE BOUNDARIES OF A SINGLE PURPOSE OR JUST A S T A T I C S T R U C T U R E . I T W I L L H O S T M U LT I P L E I N T E R A C T I O N S S U C H A S M O V I N G , TOUCHING, WANDERING, SITTING, JUMPING, VIEWING, AND LISTENING. WITH THE USE OF LARGE LANTERN SHAPED CYLINDERS THAT ARE LINED WITH LED LIGHTS ON T H E I N S I D E , T H E FO R M W I T H G LOW A N D A P P E A R A S A S U S P E N D E D F R A M E . FO R M 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 L A N T E R N S W I L L H A N G A LO N G T H E L AT E R A L T U B E S F RO M A H O O K J O I N T 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.
1” STEEL 1/8” WIRE
W H I T E P O LY BLEND FABRIC
CLAMP JOINT
STRUCTURE JOINT
ISU FABRICATING POTENTIALS | 42
EXPLORATION
LED LIGHTS
TESSA 2.0
#tessatakesthefest I R O N I C A L LY, 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 PA P E R P RO D U C E A C H A N G I N G M O S A I C O F OV E R L AY I N G C O LO R S A N D S H A P E S . A D D I T I O N A L LY, 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. T WO A D D I T I O N A L E X P LO R AT I O N S I N C L U D E : T H E A P P L I C AT I O N O F C O LO R E D 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) C O N N E C T I O N T H RO U G H O U T T H E P E D M A L L . T H E L AT T E R E X P LO R E S A N E N T I R E LY N E W S H A P E P R O D U C E D W I T H T H E O C T O ( R E S E M B L I N G A H O N E Y C O M B ) AND EXHIBITS THE VERSATILITY AND RESERVED BEAUTY OF FABRIC.
EXPLORATION
3 WAY J O I N T
4 WAY J O I N T
ISU FABRICATING POTENTIALS | 44
GHOST #isughost
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 T H E PREVIOUS DESIGN OF PIXEL WE KEPT THE IDEALS OF THE PREVIOUS DESIGN TO CREATE AN EMOTIONAL JOURNEY THROUGH THE STRUCTURE OF OPEN A N D C LO S E . T H E PAV I L I O N I S ST R U C T U R E D I N A S Q U A R E FO R M TO A L LOW FO R 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 A S O N E WA L K S T H RO U G H T H E PAV I L I O N . L E D L I G H T S A R E ST R U N G IN THE PAVILION ADDING TO THE EXPERIENCE FROM EITHER SIDE TO THE PAV I L I O N . W H E R E T H E C LOT H I S T E N S I O N E D A N D T I G H T L I G H T S A R E F E W E R TO ADD TO THE TIGHT AND CONSTRICTING OVERALL FEELING OF THE PATH.
1/8” WIRE JOINT
1/8” WIRE
1/4” WOOD 1/8” WIRE
BOARD EXPLORATION
2X4 WOOD PIN
1/8” WIRE
ISU FABRICATING POTENTIALS | 46
MALEKYOOL #malekyool
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 A N D C M U S A R E S O M E O F T H E M O ST U S E D A N D R E L I A B L E B U I L D I N G M E T H O D O LO GYS . MALEKYOOL IS CRITIQUING STANDARD BUILDING METHODS ASSOCIATED WITH B R I C K S BY C H A L L E N G I N G T Y P I C A L L AYO U T S T H RO U G H T WO S E PA R AT E WAYS . 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 . T H E I D E A I S T O O F F - S E T M U LT I P L E T I M E S T O C R E A T E A C A N T I L E V E R E D S T R U C T U R E T H R O U G H M O D U L E S . M A L E K YO O L A LS O C R I T I Q U E S B R I C K T E C H N O LO G I E S BY E X T R AC T I N G A W I R E FRAME AND DELETING THE REMAINING MATERIAL. THIS LEAVES STRUCTURAL C A P A B I L I T I E S 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 LIMITATIONS. THE DESIGN REDEFINES TYPICAL BRICK CONSTRUCTION METHODS.
WIRE
ELBOW JOINT STAR JOINT
EXPLORATION
ELBOW JOINT
WHITE FABRIC
STAR JOINT
ISU FABRICATING POTENTIALS | 48
SILHOUETTE #isusilhouette
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 L A M I N AT I O N I S A P RO C E S S I N L AY E R I N G T H I N P I E C E S O F M AT E R I A L OV E R A MOLD AND REMOVING AIR TO STRETCH THE MATERIAL OVER THE DESIRED S H A P E . T H E L AY E R S O F WO O D C R E AT E O P P O S I N G G R A I N D I R E C T I O N 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 A L LOW S T H E E N C LO S U R E TO B E O P E N W I T H I N T H E S PAC E R AT H E R T H A N C O M P L E T E LY D I S E N G A G E D . S I L H O U E T T E A L L O W S T H E U S E R T O W A N D E R 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.
EXPLORATION ISU FABRICATING POTENTIALS | 50
TESSA 3.0
#isutessatakesthefest THE GREATEST CONTRAST BETWEEN TESSA 3.0 AND HER PREVIOUS ITERATION IS 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 F O R M S O F J O I N T S WERE ATTEMPTED, NONE OF THE JOINTS IN TESSA 2.0 WERE ABLE TO HANDLE ACCIDENTAL FORCE WITHOUT BREAKING. THIS INSTABILITY WAS ALSO DUE TO LO N G E R S E C T I O N S O F W I R E RO D U S E D . I N T E S S A 3 . 0 , W E S H O R T E N E D RO D LENGTH FROM 11 TO 9 INCHES AND BROKE DOWN UNITS OF DODECAHEDRONS INTO SMALLER GEOMETRIES LIKE TRIANGULAR PYRAMIDS, CUBES, AND RHOMBIDODECAHEDRONS. JOINTS WERE THICKENED AND REDESIGNED TO WITHSTAND M O R E F O R C E T H A N B E F O R E . B E C A U S E T E S S E L L A T I O N C A N O N LY O C C U R A L O N G 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. T H I S D I V E R S I T Y A LS O A L LOW S T H E T E S S E L L AT I O N O F D I F F E R E N T O B J E C T S A N D S I Z E S T O W O R K O R G A N I C A L LY, 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.
PYRAMID
OCTAHEDRON
CUBE
EXPLORATION
RHOMBI-DODECAHEDRONS
ISU FABRICATING POTENTIALS | 52
S H E L LY #shelly
#fortunefield IN THE FASHION INDUSTRY ORIGAMI HAS BEEN USED NOT IN THE TRADITIONAL S E N S E O F PA P E R FO L D I N G , B U T I N A WAY TO I N FO R M T E C H N I Q U E S O F FABRIC PLEATING AND FORMATION. FASHION DESIGNERS, LIKE MOST D E S I G N E R S , S T R I V E T O P U S H T H E B O U N D A R I E S O F T H E I R S P E C I A LT Y AND STRETCH WHAT IS ALREADY KNOWN TO BE. IN THIS CASE, FASHION D E S I G N E R S LO O K TO O R I G A M I TO C R E AT E G E O M E T R I C L I K E ST R U C T U R A L PIECES VERSES FREE OWING GARMENTS LIKE IN TRADITIONAL DRESS. W I T H S H E L L I W E U S E O R I G A M I A S A WAY TO E X P R E S S T H E C O N N E C T I O N BETWEEN FASHION AND ARCHITECTURE BY USING THE SAME TECHNIQUES TO CREATE A STRUCTURAL IMPACT ON PIECES AS A “FASHIONABLE” PAVILION.
EXPLORATION ISU FABRICATING POTENTIALS | 54
HELEN
#helenishoute 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 ENVIRONMENTAL STRUCTURE. WE ALSO WANTED TO BLEND THE TWO TOGETHER. AS THE STRUCTURE OF THE PAVILION FANS OUT THE P A T T E R N S E E M S T O D I S S O LV E I N T O T H E B R I C K S O F T H E P E D E S T R I A N M A L L . W I T H TA L K O F G LO B A L WA R M I N G A N D C L I M AT E C H A N G E ST I R R I N G I N T H E N E W S 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 LY R E N E W A B L E R E S O U R C E I T I S O N E T H A T C A N E A S I LY B E I N T E G R A T E D 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.
EXPLORATION ISU FABRICATING POTENTIALS | 56
KINETIC COUTURE #korture
T H E T R I A N G U L A R F A B R I C F A C A D E W A S I N S P I R E D F R O M C O M M O N LY U S E D FABRIC TECHNIQUES, SUCH AS THE REPEATED PETAL EXTRUSION YOU S E E O N C LOT H I N G . T H E I N I T I A L P E TA L FO R M WA S T H E N M O D I F I E D I N TO 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 , A N D V I S U A L LY P L E A S I N G S H A P E . K I N E T I C C O U T U R E I S U S E D T O I N S P I R E R PASSERBYS AND FASHION DESIGNERS. THE TWO SIDED TRIANGLES GIVE A S E N S E O F “ DAY A N D N I G H T ” B E I N G M I X E D TO G E T H E R . T H E VA R I AT I O N I N N AT U R A L L I G H T I N G A L LOW S T H E PAV I L I O N TO B R E AT H E N E W L I F E T H RO U G H O U T T H E D A Y. N O T O N LY 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
ISU FABRICATING POTENTIALS | 58
NIMBUS #nimbus #nimrod 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 M E D I A , E T C . S E C O N D , T H E R E I S A T R A N S F E R O F D A T A O N A N U N S E E N P L A N E . L A S T LY, T H E DATA SHOWS ITSELF ON A SEPARATE PLANE THAN THE PHYSICAL PLANE, BUT MAINTAINS THE BASIC FORMS AND IDEAS BROUGHT ABOUT FROM THAT INITIAL INTERACTION. NIMBUS COMBINES THE IDEA OF AN INSTINCTUAL AC T I O N : S I T T I N G D OW N , L AY I N G D OW N , C H A RG I N G A P H O N E , E TC . , W I T H A PERCEIVABLE RESPONSE. NIMBUS IS SEPARATED INTO 3 PLANES. THE GROUND PLANE PROVIDES THE BASIS FOR THE PHYSICAL INTERACTION. USERS SIT OR L AY D OW N W H I C H S E N D S A S I G N A L T H RO U G H T H E M I D D L E P L A N E O F T H E PAVILION. THE THIRD PLANE EXISTS ABOVE, AND EXHIBITS THE RESPONSE F RO M T H E P H YS I C A L I N P U T T H RO U G H T R A N S F E R O F L I G H T C O LO R . T H E C LO U D O F DATA FO R M S D E N S E N O D E S C O N N E C T E D BY T H I N N E R ST R A N D S . LIGHTS REPRESENT THE TRANSFER OF DATA FROM THE USER’S INNATE I N T E R AC T I O N I N TO T H E C LO U D A L LOW I N G T H E M TO E X P E R I E N C E T H E T R A N S F E R .
SECTION A
SECTION B
A
B
EXPLORATION
B
A
ISU FABRICATING POTENTIALS | 60
FINAL PROPOSAL
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. 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 PAVILION.
FORM ITERATIONS THE GRASSHOPPER SCRIPT GENERATED A VARIETY OF DESIGN I T E R AT I O N S , A L LOW I N G U S TO E VA L U AT E A N D S E L E C T T H E ST RO N G E ST DESIGN S T R U C T U R A L LY AND V I S U A L LY. THE CURVED WALLS CREATED GREATER DEPTH TO THE ALREADY PIXELATED ELEVATIONS.
FINAL PROPOSAL ISU FABRICATING POTENTIALS | 64
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
ISU FABRICATING POTENTIALS | 66
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 A C C E P T A N C E A T I O W A C I T Y ’ S F LY O V E R F A S H I O N 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
DUBUQUE STREET
FINAL ITERATION
WASHINGTON STREET
IOWA CITY, IOWA 1’
6’
16’
ISU FABRICATING POTENTIALS | 74
FINAL ITERATION ISU FABRICATING POTENTIALS | 76
W I D T H 6 ” x H E I G H T 6 ” x D E P T H __ 6” 8” 10” 12”
BOX TYPES
MINIMUM
MINIMUM
MAXIMUM
MAXIMUM
S T R E S S A N A LY S I S
DEFORMATION
FINAL ITERATION
M I R RO R I N L AY
WIRE FRAME | 3D JOINTS
CONCRETE BASE ISU FABRICATING POTENTIALS | 78
FINAL ITERATION ISU FABRICATING POTENTIALS | 80
IM_RU COMPONENTS
THROUGH OUR DESIGN PROCESS WE HAVE EXPERIMENTED WITH A HANDFUL OF MATERIALS AND T E C H N O LO G I E S . MATERIALS E X P LO R E D INCLUDE WOOD, METAL, FABRIC, PLASTIC, ACRYLIC, PLEXIGLASS, CONCRETE, PVC PIPE. WE ALSO WORKED W I T H T E C H N O LO G I E S S U C H A S C N C W I R E B E N D I N G , DREMEL 3D PRINTERS, ARDUINO, AND LIGHTING. F I N A L M A T E R I A L L I S T: 3D PRINTED JOINTS 1 / 8 ” G A LV A N I Z E D S T E E L R O D S 6” X 6” PLEXIGLASS MIRROR CONCRETE LED LIGHTS
M I R RO R I N L AY WE RESEARCHEDTHE F LY O V E R FASHION FEST LINEUP OF ACTIVIST I N V O LV 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 LY. 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 T O 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 E X P LO R I N G C U T T I N G M I R RO R S BY H A N D W E O U T S O U RC E D T H E M I R RO R C U T T I N G P RO D U C T I O N TO S P E N D O U R T I M E F U R T H E R D E V E LO P I N G OUR IDEATION. THE MIRRORS WILL BE DONATED AFTERWARDS TO THE FIGGIE ART MUSEUM IN DAVENPORT IOWA FOR FURTHER INSTALLATIONS.
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
COMPONENTS ISU FABRICATING POTENTIALS | 84
WIRE FRAME | 3D JOINTS THROUGH EACH ITERATION OF OUR DESIGN PROCESS WE’VE DESIGNED AND P R I N T E D A M U LT I T U D E O F 3 D P R I N T E D J O I N T T E S T S I N O R D E R T O D E S I G N OUR FINAL CONNECTION POINT WITHIN THE PAVILION. WE HAVE MET O U R S H A R E O F D I F F I C U LT I E S A N D S E T B A C K S T H R O U G H T H I S P R O C E S S , W H E T H E R T H AT B E U S E R E R RO R O R T E C H N O LO G I C A L G L I TC H E S . 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 THE FASHION FESTIVAL, THE 3D PRINTED JOINTS WILL BE GROUND, M E L T E D , E X T R U D E D A N D W O U N D B A C K I N T O F I L A M E N T U S I N G A F I L A B O T.
J O I N T Q U A N T I T Y: 4 , 1 4 4 J O I N T S = 1 , 0 3 6 B LO C K S 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 J O I N T — U S E TO C R E AT E W I R E B LO C K FORMS
CUBE JOINT— EXTRA MATERIAL WAS HELPFUL IN STRENGTHENING THE JOINTS.
COMPONENTS
TRIANGULAR JOINT— A L LOW S S PAC E FO R T H E MIRRORS TO SLIDE IN FOR T H E B LO C K S TO C O N N E C T W I T H O U T A N O T H E R J O I N T.
ISU FABRICATING POTENTIALS | 86
CONCRETE BASE C O N C R E T E B LO C K S M I M I C K I N G O U R W I R E C U B E S W E R E I N C O R P O R AT E D FOR EXTRA STABILITY BUT BECAME A VITAL PART IN DESIGNING A LIGHT I N T O T H E I R S T R U C T U R E . W E B U I LT A M O L D I N C O R P O R A T I N G W I R E I N T O 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 C O N C R E T E B LO C K S P L AC E D T H RO U G H O U T T H E B A S E O F O U R PAV I L I O N . SIZES | QUANTITY A=6” X 6” X 4 4/5” (30) B=6” X 6” X 7 1/4” (16) C=6”X 6” X 9 2/3” (3)
COMPONENTS ISU FABRICATING POTENTIALS | 88
LIGHTING I N C O R P O R AT I N G L I G H T P L AYS A K E Y PA R T I N T H E D E S I G N O F I M _ R U . T H E 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. W E LO O K E D I N TO B AT T E R Y P OW E R E D V S . H A R D W I R E D L I G H T I N G . B AT T E R Y POWERED LIGHTING WAS THE FINAL DECISION FOR OUR AMBIENT LIGHT IN ORDER TO INCORPORATE MORE LIGHTS WITHOUT HAVING TO HIDE WIRES. T H E C O N C R E T E B LO C K S H E L D S M A L L L E D F L A S H L I G H T S T H AT C R E AT E D 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 .
COMPONENTS ISU FABRICATING POTENTIALS | 90
IM_RU CONSTRUCTION
IM_RU MIRRORS WHAT IT SEES IN ALL DIRECTIONS, M O M E N T A R I LY E X P A N D I N G A N D C O N F U S I N G W H A T IS OTHERWISE THE PEDMALL’S EASTERN BORDER. T H E P A V I L I O N ’ S F O R M I S C O M P R I S E D O F M U LT I P L E , MODULATORY WALLS, PROVIDING FACADES FO R V I E W E R S TO E X P LO R E A N D E N G AG E W I T H .
CONSTRUCTION ISU FABRICATING POTENTIALS | 94
CONSTRUCTION ISU FABRICATING POTENTIALS | 96
IM_RU INSTALLATION
DESIGN STUDIO: DISTANCE TRAVELED: DESTINATION:
AMES, IA 140 MILES I O W A C I T Y, I A
INSTALLATION ISU FABRICATING POTENTIALS | 100
INSTALLATION ISU FABRICATING POTENTIALS | 102
INSTALLATION ISU FABRICATING POTENTIALS | 104
INSTALLATION ISU FABRICATING POTENTIALS | 106
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 SUBMISSIONS 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.
IM_RU ISU FABRICATING POTENTIALS | 110
IM_RU ISU FABRICATING POTENTIALS | 112
IM_RU ISU FABRICATING POTENTIALS | 114
IM_RU ISU FABRICATING POTENTIALS | 116
I M _ R U : LO C A L N E W S
WE TOOK OUR PAVILION TO SEVERAL DIFFERENT SOCIAL MEDIA PLATFORMS: I N S T A G R A M , F A C E B O O K , S N A P C H A T. C O L L E C T I N G D A T A A N D F E E D B A C K F R O M PEERS AND OTHER DESIGNERS WHILE PROMOTING WHAT WE’VE LEARNED THROUGH OUR COLLEGIATE CAREERS IS CRUCIAL TO OUR GROWTH AS DESIGNERS. #IM_RU
IM_RU ISU FABRICATING POTENTIALS | 118
IM_RU: SNAPCHAT
IM_RU ISU FABRICATING POTENTIALS | 120
IM_RU: INSTAGRAM
IM_RU ISU FABRICATING POTENTIALS | 122
IM_RU ISU FABRICATING POTENTIALS | 124
9 : 0 0 A M , M AY 5 2 0 1 7
FINISH TIME:
5 : 3 0 P M , M AY 5 2 0 1 7
IM_RU
START TIME:
ISU FABRICATING POTENTIALS | 126
IM_RU ISU FABRICATING POTENTIALS | 128
Department of Architecture