IM_RU by Shelby Doyle

Fabricating Potentials 2017

IM_RU

S T U D I O

6 ARCHITECTURE

5 INTERIOR 4 LANDSCAPE ARCHITECTURE 15 CREATIVELY DIVERSE STUDENTS INTENSE RESEARCH RAPID IDEATION WIRE BENDING 3D PRINTING

INTEGRATED TECHNOLOGY ANTOINE PICON DESCRIBES IN DIGITAL CULTURE (2010) THAT THE DEVELOPMENT OF DIGITAL TECHNOLOGIES

1 PAVILION

HAS RESHAPED OUR EXPERIENCE OF THE PHYSICAL WORLD. IN THIS AUGUMENTED 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. ARCHITECTURE TO MATERIALIZE THE DIGITAL IN NEW AND UNFORESEEN WAYS.

INTERFACE REQUIRES

STUDIO 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 UBIQUITIOUS CONCRETE FORMWORKS TO INNOVATIVE EMERGENCY HOUSING. PROJECTION, AND

METHODS WILL INCLUDE 3D PRINTING, CNC ROUTING,

ARDUINO SENSING. THROUGH INTERATIVE PROTOTYPING, FULL SCALE MOCK UPS, AND DIGITAL

FABRICATION THE POTENTIAL OF INTEGRATING COMPUTATION INTO CONSTRUCTION WILL BE EXPLORED.

I M R U ’ S

C R E W 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 ?

OVER-ACHIEVER ?

APPLE JUICE

CRUSHED ICE OR CUBED ICE ?

ANSWER

ANSWER:

THAT’S A TOUGH ONE

DOES IT HAVE PULP?

ANSWER MAC.

ANSWER CUBED

JOSH COBLER

KALE PAULSEN

NICK DENTAMARO

ALEXA BARR

ARCHITECTURE 2018

LANDSCAPE ARCH. 2017

INTERIOR DESIGN 2017

HONEY MUSTARD OR BBQ SAUCE?

TATTOOS OR PIERCINGS ?

SUNRISES OR SUNSETS?

COMEDY OR MYSTERY?

ANSWER

ANSWER COMEDY

BBQ

PIERCINGS, ONLY I DON’T HAVE A TATTOO YET!

SUNRISES

BECAUSE

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 VANILA?

LEATHER OR DENIM ?

ANSWER:

ANSWER

“CAN’T WAIT TO GET A MOUTHFUL!”

WHIY CHOOSE I AM BOTH

CAN I HAVE BOTH?

ALL OF THE ABOVE!

JAKE OSWALD

JAEHEE HWANG

JOELLE SWANSON

SHELBY DOYLE

LANDSCAPE ARCH. 2017

ARCHITECTURE 2017

INTERIOR DESIGN 2017

Asst. Professor

TO BE OR NOT TO BE ?

COFFEE OR TEA ?

DANCING OR SINGING ?

Architecture

ANSWER

WHAT THE HECK DOES THAT MEAN?

CAFFENIE PLEASE!

AM I ALLOWED TO SAY BOTH!

ONE OR TWO SLICES OF TOAST ?

ANSWER

ANSWER TWO SLICES!

I M R U â&#x20AC;&#x2122; S

1-6

7-14

15-22

23-26

27-36

37-46

47-54

T I M E L I N E FLYOVER FASHION FEST/SITE STUDY

71-76

EXPLORATION VII

77-92

IMRU

93-102

IM_RU

103-116

COMPONENTS

117-122

COMPONENT CONSTRUCTION

123-136

INSTALLATION

137-144

COMPONENT CONSTRUCTION

145-166

INSTALLATION

PAVILION PRECEDENTS MoMA PS1 Case Studies

FASHION METHODOLOGY

EXPLORATION I

EXPLORATION II

EXPLORATION III

EXPLORATION IV

55-60

EXPLORATION V

61-70

EXPLORATION VI

FLYOVER

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. FASHION, ART AND MUSIC WILL TAKE CENTER STAGE AT IN THE

PED MALL

ANNUAL

IN THE HEART OF IOWA

FLYOVER FASHION FEST 2017

CITY. THIS

A WIDE VARIETY OF

FLYOVER. LOCATED IS IOWA

CITIES 2ND

BRINGS DESIGNERS AND ACTIVIST

FROM ALL OVER THE UNITED STATES THAT HAVE TIES TO THE

MIDWEST. THE

FESTIVAL SHOWCASES THE CREATIVES AND TALENT OF THE

MIDWEST

PROVING IOWA IS MUCH MORE THAN A FLYOVER STATE.

F LY O V E R F A S H I O N F E S T # F LY O V E R FA S H I O N F E S T 1

NICOLE LETH

NOOR TAGOURI

VIRGIE TOVAR

GRACE DUNHAM

SEX & ICE CREAM

ACTIVIST & JOURNALIST

Author, activist, & leading expert on discrimination and body image

Activist & Writer

DES MOINES GIRL GANG

CALEB CONDIT

SARAH KISSELL

JACKI LYDEN

COMMUNITY

MUSICIAN

Creative director, former senior art director at Nasty Gal

Founder of the Seams Podcast, former news reporter at NPR

JUSTIN KERR

LINDSA CHASTAIN

ALEX Oâ&#x20AC;&#x2122;BRIEN

NICOLE LORENSON

Mr. Corpo podcast, author of "how to Write an Email",

FOUNDER AT SAUVAGED

Visual Artist & Brand Strategist

Founder at Preservation

ALISABETH VON PRESLEY

MARISSA MULLER

JASON SMITH

JACK LION

Creator at TINT

EDITOR AT CONDE NAST

Visual Artist

Music

IOWA I O W A 5

C I T Y ,

I O W A 6

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 OPPOURTUNITY TO BUILD PROJECTS CONCEIVED FOR

MOMA PS1’S FACILITY IN LONG ISLAND CITY, 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 ENVIRONMENT, MAKING USE OF THE PRE-EXISTING SPACE AND MATERIALS.

THE

ARCHITECTS FOLLOW A PROGRAM WITH A TIGHT BUDGET, AND ARE INVOLVED IN EVERY ASPECT OF THE DESIGN, DEVELOPMENT, AND CONSTRUCTION OF THE PROJECT. SITE,

THE

MOMA PS1’S LARGE TRIANGULAR ENTRANCE COURTYARD AND OUTDOOR

SCULPTURE AREA, IS AN INTEGRAL PART OF THE MUSEUM’S POPULAR MUSIC CONCERT SERIES,

WARM UP, WHICH FEATURES EXPERIMENTAL MUSIC, LIVE BANDS, AND DJS. THE

SITE IS OPEN TO VISITORS THROUGHOUT THE SUMMER.

WE USED THIS RESEARCH TO

INSPIRE AND INFORM OUR PAVILION DEVELOPMENT AND DESIGN.

MOMA PS1 7

C A S E

S T U D I E S

DUNESCAPE 2000 GREGG PASQUARELLI, SHOP ARCHITECTS

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 parts of the assembly to offer shade, while lower parts could be used as seating areas. One section of the multi-dimensional design even incorporated individual cabanas where visitors could change their clothes. This section 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 this idea of ‘performance-based design,’ the main interest was translating the digital into the actual.” – GP. Dunescape gives us a precedent of how you can create/combine multiple parts/perspectives to come together and function as a single space. Along with an understanding that in order to produce an excellent design we cannot be afraid to try new things. “We’re not afraid to try and design something theoretical and stand behind it and get it built. We don’t always know what we’re doing, but we’ll figure it out.” – GP

Defined by its designer as a circus or playground, “Sur” has no narrative; it exists only as a creative platform for human interaction. In a twisted, ironic sort of way, the playground is inspired by an imagined, deceased, exterrestrial monster. Although he alien skeletal 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 gradually. Xefirotarch specializes in architecture, product, and digital motion design. Use of parametric modelling such as Maya was cited as appropriate for the development of the complex, 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 suit our objectives for the Flyover Fashion Fest in Iowa City, Iowa.

OBRA designed the structure with large triangular outdoor shells , which were assembled and manufactured within their own workshop, and then later reconstructed on site. Because the shells feature accordion-like characteristics with the ability to fold relatively small for transporting reasons and resembling, the firm has referred to these shells as concertina. The concertina’s were modeled and manufactured digitally with a CNC router, which provided the energetic curved form. The architects stated that their material would span 20-30ft, but because they forced the shape into curves, that connecting them into an irregular grid allowed them to reach a much greater workable space.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. Another useful tip which we should consider is their use of this inexpensive material can be returned to its original design shape once the wind dies down because of the materials flexibility.

Wendy experiments the boundaries of architecture and ecological/social effects. It clears air pollution by blowing wind through its specialized fabric Titania Nanofilm and also cools down the heat of New York’s summer by spraying water and mist to 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 free-standing spikey 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 also climbing up the stairs into the installed platform of its interior.

COSMO 2015 ANDRES JAQUE/ OFFICE FOR POLITICAL INNOVATION

Jaque took inspiration from both the amount and process in which water circulates beneath New York City. COSMO is an assemblage of ecosystems that is able to filter and purify three-thousand galloons of water. The instillation is characterized highly by the stretched-out plastic mesh through which water travels. When water has been purified within this mesh it begins to glow. 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 abled to produce data which can be relayed online in order to better inform its audience and the public.

Using translucent Mylar panels tinted in four colors Ball-Nogues 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 tent-like shapes. These tripods also create the structure for netted hammock seating areas designed by artist Sheila Pepe. n the outdoor gallery adjacent to Liquid Sky is Droopscape. Similar to the main gallery pieces it is supported by utility poles. These tripods, however, are equipped with water buckets which dump water onto the people below. Liquid sky incorporates shading, seating, and a water feature in a cohesive design. Simple structural elements allow more intricate and exciting features to stand out. The use of sunlight through the Mylar panels creates a design that changes and evolves day by day and even hour by hour.

FASHION 15

Since Iris Van Herpen’s first runway show in 2007 she’s been pushing the boundaries in finding new methods of sartorial expression. 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 craftsmanship. Her use 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 collects consist of linear shifts and sharp contrast & optical manipulation between light and shadow. In collaboration with architect Philip Beesley she’s used soft 3D hand-casted PU fabrics that are hand-painted through injection molding and fine expandable laser- cut Mylar. “Lucid” collection mimics lucid dreaming. In this line she uses transparent laser-cut elements, connected with transparent tubing. One garment utilizes 5,000 printed elements from flexible TPU 3D printing. Another collection, “Hybrid Holism,” meaning an ancient belief that all mater is in some sense alive, Iris uses a technique with Mammoth Stereolithography (3D printing method)

This technique is a new and innovative way to combine the old Japanese technique of origami folding of paper with high fashion materials and inspiration from architectural forms. To achieve the origami and structural aesthetic, pleating, folding, cutting, curling, and manipulating fabric are implemented to create a wearable form. Though not easy to execute if the clothing will actually be worn, this can have a significant impact visually.

Materials: Vary from paper, knitting, plastics and cotton.

Designers using origami as a method: John Galliano Christian Dior Jum Nakao Sandra Backlund Alexandra Verschueren

Technology has crept its way into the textile and fashion industry. Advancements in interactivity and materiality, lead to some incredible pieces of fashion that almost mirror the world of architectural design. Ying Gao is a fashion designer from Montreal, Canada. Her collections are a constant study of materiality. They push the limits of what fashion can be. In a way, most of her designs are a fashion pavilion. They exist as studies, rather than practical finished products. Gao has a variety of interactive projects. Many of them utilize small motors that move the fabric in response to some sort of trigger. She has used eye tracking technology, expression recognition, and light sensors. Most the interactive projects use a material called PVDF, which is a type of non -reactive plastic. Some of the 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. Her designs showcase the beauty of fabric in motion as well as fabric lit up. She shows the versatility of fabric, both structurally and formally. The designs push the limits of what fabric and fashion can do.

Created by Japanese artist Daisy, also known as Rei Hosokai. 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 inexpensiveâ&#x20AC;&#x201D;about 9 cents per balloonâ&#x20AC;&#x201D;each featherweight (and biodegradable) creation carries a hefty price tag ranging from $1,930 to $3,860.

Smoke

dress

engages

the

most

intimate and neglected interface of fashion: external proximity. A veil of smoke

“whenever

automatically someone

emitted

enters

the

personal space of the wearer, thus camouflage] itself within it’s own materiality.” The dress is 3D printed with polyamide and TPU 92A- 1 (thermoplastic polyurethane), the first fully-flexible 3D printing material. This

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 in a differentiation of shadow. Although Winde’s material palette is minimalistic, she portrays strong elements of contrast with the incorporation of wood, silk, and glass into her piece.

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 our skin and the role it plays in human-to-human interfaces.

FIRST STEP TO CREATION IS IDEATION. WITHIN THE BEGINNING STAGES OF DESIGN WE BROKE UP INTO SMALL TWO-THREE PERSON TEAMS TO INVESTIGATE FORM, STRUCTURE, AND LIGHTING INTEGRATION. ALONG WITH SKETCHES WE WORKED WITH CHIBI TRONICS 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 I

“Our pavilion should be driven first and

“In the case of pavilions, the connection of

“Pavilions are where imaginations meet reality.

“My

foremost by its potential to create design value

intuition from user, to design, to designer is

They’re

create

in its physical form. In the spirit of fashion, a

amplified. A pavilion does not exist as a

temporary,

jacket doesn’t need to “save the whales” for

complete design. It exists as a study. A pavilion

dimensional space containers. They provide

wide rather

me to want to buy it. Sometimes it helps, but a

should be entirely accessible to the passerby.

room for creative explosions, live, physical

form

jacket of beauty and quality sells itself. As

Its users should not wonder how the pavilion

interactions, movement, and play. The pavilion

humans, we have the capacity to create and

came about, but rather how its ideas can be

can be, but rather should be, something

Something more theatrical is what I

utilized in the scale at which the user exists. “

dreamt first and foremost. It finds a way to

imagine.

hurdle an obstacle then takes an extra leap. It

constantly

projects within the boundaries but always

moves through space that that every

looks for a way of reaching for heights to

interaction

exceed its constraints. A pavilion should strive

materials in mind, I imagine a fabric

that is s l e e k

appreciate beauty without the embellishments of didactic or advocative narratives.”

-Billy Pausback

- Jacob Oswald

“A pavilion can obtain a variety of factors, and

“One aspect I would like to include is providing

in recent years I believe the concept of

three levels of interaction, the first being in the

pavilions has turned into the idea of an

range of ground level to three feet above

ephemeral

architectural

art

piece

that

ground, the second level being three to eight

temporarily

enhances

its

surrounding

feet above ground, and the third level being eight to fifteen feet above ground. I envision

environment.” -Brooklyn Fenchel

the interior space being fully enclosed except for the openings to enter. The walls would be made of a few different modular pieces

“This pavilion would find a harmonious hybrid

that could house lighting. Some of these mod-

ular pieces would be covered with fabric while

architectural content. The entire idea will be

others are left exposed for the user to interact

centered on a piece of machinery that is

and understand how the structure is put to-

encompassed

gether

technology

and

materials

fabric

within

overlay.

The

and

learn

how

the

works. I envision the interior as an oval shape

allows for the object, and thus the entire

roughly 15 feet long by 10 feet wide with an

pavilion

entrance on each end of the long axis. “

kinetic.

whole,

become

However, this machinery would not

but

creations

rather

ingenious

depicting

permanent

level,

battle

three-

for

this

project

space

that

a p e r f o r m a n c e . Something that is

through

than

that

tall. I

has

movable

shell

and

The

can

form

changing

could

imagine

that

crawl

could

shape as it

unique.

With

a n d r e fl e c t i v e b u t l i g h t

perfection, but most importantly, refrain from a

w e i g h t a n d fl e x i b l e . T h e f o r m w i l l

fictional nature. Pavilions tie foreign elements

into one, unified being. They allow change

made

toward evolution. They don’t define literal

imagine l a y e r s

meaning but provoke constructive imagination

the interior. The inside of the space

and thought. Pavilions makes people think and

should

wonder and perhaps quite possibly question.

that c o n t r a s t s

Pavilions should be bold and beyond basic.

whimsical and dream like. That way

Meaning? They express color as an extended

it will draw users into the pavilion. ”

organically of

shaped

repeating

and

can

patterns

be .

o f p a t t e r n s e n g u l fi n g

magical

space

the outside by being

move. They showcase something special like a

-Alexa Barr

fish in its own fishbowl.” -Nick Dentamaro

lighting

machinery within the center of the object

limitless

vision

-Josh Cobler

2ND EXPLORATION

BEGAIN WITH EVERYONE INDIVIDUALY WRITING THEIR

only be able to display a physical sense of

DESCRIPTION

movement but a visual sense as well through

STRUCTURE BEING.

the use of changing LED lights. “

GROUPS OF

PAVILION

BASED

AND

WHAT

THEY

SAW

OUR

FINAL

ON WHAT WE WROTE WE WERE PAIRED INTO

4-5 STUDENTS TO DESIGN, MODEL, AND RENDER A PAVILION.

-Austin Demers

EXPLORATION II 27

CONTINUUM #CONTINUUMPAVILION

The exterior of the pavilion is a continual organic shape that seems to move as you walk around as well as within the structure. The shape is simple in appearance but much more complex in construction. Keeping the exterior consistent and seemingly endless, intrigues users from afar as well as up close. The layering of materials, lighting and depths, gives the structure movement and interest. The way in which users interact with this structure can vary. 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 gives this pavilion opportunity as well as not only as an architectural piece but also having functionality as well.

KALEIDO #KALEIDO Using only simple shapes and subtle changes, a kaleidoscope creates a panoply of beautiful patterns. In Greek, Kaleido means “beautiful shape.” In the case of this

pavilion,

Kaleido,

elementary shape is modulated and replicated as the building block for the creation and careful manipulation of space, experience, and beauty. Kaleido

space

whose

boundaries are ambiguous and perceived. Vision into and through the

pavilion

changes

one

approaches, ponders, and passes through or by. From one vantage point, the pavilion appears as a nimble

framework,

obstructing

one’s view very little. At another, the

pavilion

appears

catacomb of fabrics, completely concealing what lies beyond.

ENIGMA #ISUENIGMA

Although Enigma is a temporary structure, it has been designed to address several environmental elements common to Iowa. To do this, Enigma has been constructed with moveable 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 fit. The independent nature of the panels allows comfort to be put in the hands of many users simultaneously. Enigma is form build upon twenty-one columns with ninety individual panels that are tightly wrapped in a poly interlock knitted synthetic fiber. Each panel is fastened together by four crimping loops with two crimping loops on either end strung together with a support wire on either side of the panel. The main support of the structure comes from a serpentine shaped beam that runs along the ground plane and supports the columns. Enigmas wrapping is a breathable fabric that has minimal shrinkage over time and had adequate elasticity. The fabric was chosen based on is warm weather thermal qualities that easily pass air through so that the structure remains stable on a windy day. A columns crest over to create a shaded boundary and provides seating for the users. 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. The LED lights will also be enhanced with the use of fog escaping from the support panel. There will approximately be three hundred and sixty LED lights within the structure. As we think about the future development of Enigma we would like to move away from paneled fabric and into sound controlled aluminum panels. Along with the sound emitting panels the LED lights would flash according to the intensity of the impact with the aluminum.

LANTERNE D’IOWA #LIT

There are a total of 9 lanterns within the pavilion. These lanterns will be connected to one another in groups of three. These groups will then be connected with three other groups of three. These lanterns will provide a kinetic element into our pavilion. The lanterns will move in regards to the its surrounding. The lanterns will also provide light for the spaces. Within each lantern will be motion censored LED lights. The LED’s provide lighting for the space while also encouraging users to be interactive with the pavilion itself. Located directly below each cluster of lanterns will be our version of a seating element. Similar to the lanterns above, the seating elements will be multiple elements combined cohesively together to create a larger form. In total there will be 5 groups of these seats, all located directly beneath our 3 different groups of lanterns. The seats will be characterized highly by the use of a woven polypropylene material. This material, which is most commonly used in trampolines, provides a sturdy yet comfortable flexibility for our audience to sit. Our pavilion utilizes space while also offering easy constructability methods. Each lantern is made up of two 1/8 thick wires that are bent into the forms of octagons. Two pieces of fabric are then rapped around this wire. Sandwiched in-between these two pieces of white fabric will be our motion censored LED lights. Because these lanterns will utilize gravity, they won’t require support elements other than the wiring used to connect one of the metal octagons to our support piece. Our seating element will be constructed by plywood support pieces. These support pieces will then be covered with the polypropylene material. We believe this pavilion would blend in smoothly while also adding to the overall atmosphere at the flyover fashion festival. It’s important to us that the pavilion serves to fit the event and its purpose. TITLE is an innovative, meaningful, and functional pavilion that serves as a catalyst to the site. In the end, we believe this pavilion serves needed functions within the site but without distracting from the reason for which everyone has attended.

EXPLORATION III 37

TESSA #TESSATAKESTHEFEST

Three-dimensional tessellation is the total filling of all spatial voids by the use of any necessary shapes. Some three-dimensional shapes, such as the truncated octahedron, tessellate naturally. This unique characteristic allows for 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, Tessa engages her passing neighbors with a hint of mischief, mirroring their movement across the courtyard with a flickering display of LED lights placed inside the octahedrons. As a child runs past Tessa, she follows suit, sending a wave of flashes across her form with the child. Other kids notice and join in, chasing their â&#x20AC;&#x153;shadowsâ&#x20AC;? about like Peter Pan. As previously mentioned, Tessaâ&#x20AC;&#x2122;s multi-dimensional construction capabilities allow for endless possible pavilion forms. Created individually and snapped together, the truncated octahedrons act as life-sized 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 exhibiting a strong sense of intentionality, cohesion and legibility.

PIXEL #GEOGANIC #PIXEL #PIXELGYM #PIXELATED #PIXELPATH #PIXELSTITCH #PIXELCAGE #PIXELPLAY #RUBIXROOM

The structure of the pavilion was inspired by a single pixel. Pixels are the smallest element of an image. These pixels join together to create a whole. Our pixels become a 3 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 a unique dynamic character of its own. The journey through the space gradates as tension in the material changes from high to low. Depending on oneâ&#x20AC;&#x2122;s entry position the experience changes. From one end the fabric is pulled tight crossing through the space creating and energetic field of movement. As one continues through the fabric loosens its reigns and frees itself from tension. The tensionless free fabric creates a sense of serenity and peace as breeze moving through the pavilion catches its movement and dances alongside the fabric. If one travels through the opposite way, the experience is flipped and the emotional impact is reversed.

COCOON #COCOON

The design of Cocoon portrays a very curvature stance in both the x and y axis. As the structure continues to curve on the ground plane, it creates a partial dome at one of the ends. In addition, two half-circle walls partially enclose the structure as a whole. This creates a prolonged experience as the user navigates around all sides of the pavilion. Cocoon has been designed with a series of cohesive paneled walls repeated throughout the structure. The repetition of panels brings the three parts of the design into one cohesive design. The panels are constructed with fiberglass-reinforced plastic that acts as the material around a galvanized wire frame. The fiberglass-reinforced plastic allows lights to be captured within and exemplified out. The frame around the panels is set to a consistent arc throughout the structure. A 3D printed joint has been configured with a set of holes that allows the panels to be pinned at different angles. This creates a variation of shade for the structure and the user throughout the day, changing the level of protection from the elements. Seating has been implemented throughout the design for the user to interact with the structure. LED lights are placed along the base of the panels and shown up through the fiberglass-reinforced plastic. The use of LEDâ&#x20AC;&#x2122;s not only provides light to the space for nighttime use, but also offers another element to create variation at night.

BALEFIRE

A pavilion is defined as a building or similar structure used for a specific

#BALEFIRE #FLAME #LIT2017

static structure. It will host multiple interactions such as moving, touching,

purpose. Balefire extends past the boundaries of a single purpose or just a

wandering, sitting, jumping, viewing, and listening. This pavilion aims to explore the different implementations of various materials and the way in which design can be displayed in a simple manner. Balefire means an open air fire, which is our visual goal for this pavilion. 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 flame. The form of Balefire is focused on variability within the structure. There are 5 different sizes of lanterns that very in length and diameter. Although the substance within the boundaries is variable, the support itself is structured around a balanced and consistent lateral frame. The users interact with the space by walking through the hanging lanterns and touching and moving the fabric. The users are also encouraged to sit, jump, or stand on the tire seating forms that are woven with paracord. The woven paracord has high elasticity so that jumping on the tires into the lanterns. Our goal is for the user to discover their own experiences through exploration of the forms, light, and sound. 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 and supported within the structure with a 3D printed quad joint. Within each lantern there are multiple eighth inch bent wire octagons that hold the fabric in its desired shape. In each of the lanterns there will be a specified amount of lights depending on the size of the lantern which will range from eight LEDs to twenty LEDS. The lantern fabric is sewn around the eighth inch wire at the top and along the side to allow for movement while users interact.

EXPLORATION IV 47

TESSA 2.0 #TESSATAKESTHEFEST Ironically, as the exploration progressed, potential for the genetics of Tessa’s ancestor, Kaleido, to resurface was discovered. Translucent, colored Plexiglas sheets suspended in place of the paper produce a changing mosaic of overlaying colors and shapes. Additionally, projected video footage dances in psychedelic patterns across Tessa’s fractal form. Both potentials create a spectacle like that of a dinosized, outdoor kaleidoscope. Two additional explorations include: the application of colored string to Tessa’s finished skeleton upon festival set-up, and the 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 entirely new shape produced with the octo (resembling a honeycomb) and exhibits the versatility and reserved beauty of fabric.

GHOST #ISUGHOST

Geometric form and organic movement bring our design to life creating the illusion that our pavilion is solid or see through. Illusion means a thing that is or is likely to be wrongly perceived or interpreted by the senses. Our design drew its inspiration from Reading Between the Lines a church that appears either solid or half-dissolved depending on the angle from which you view it. Building off from 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 of tensioned and draped cloth. 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. While complex in appearance the overall design and construction of our design is simple. Using the idea of repetition and simple joints to create our design. The pavilion has two entrances on opposite sides of the structure. Three of the four wall are made out of wood and the other made out of wire. Then wood walls are made out of a plank and a riser to create the illusion of a see through wall. The risers a turned at a 30 degree angle so that depending upon the angle from which a person looks upon the pavilion gives the illusion of solid or see through wall. The inner space of the pavilion is designed with material tension changing from high to low as one walks the pavilion. LED lights are strung in the pavilion adding to the experience from either side to the pavilion. Where cloth is loose and flowing more lights are added create a light bright atmosphere. Where the cloth is tensioned and tight lights are fewer to add to the tight and constricting overall feeling of the path.

MALEKYOOL #MALEKYOOL

There are many shapes deemed appropriate for structural performance and strength capability. Materials such as Bricks and CMUs are some of the most used and reliable building methodology. When stacked properly, they can become exceedingly ridged, interlocking with the neighboring bricks. The simplicity of this building strategy is what makes a brick individually unique. Frame is critiquing standard building methods associated with bricks by challenging typical layouts through two separate ways. First, by offsetting and rotating our modules. The idea is to offset multiple times to create a cantilevered structure through modules. Second, Frame critiques the brick technologies by extracting a wire frame and deleting the remaining material. This leaves Frame with structural capabilities while removing excess weight; therefore minimizing limitations. Summing up Frame, is redefining typical brick construction methods. By simplifying the module, Frame breaks through constraints of brick properties, as well as using the frame as a constraint for development within the frame.

EXPLORATION V 55

SILHOUETTE #ISUSILHOUETTE Silhouette is constructed with bent lamination to achieve the curves that happen as the structure appears to grow. Bent 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 plastic spheres expand and contract as the users pass by. These are attached by wire which secures the spheres as well as the curve of the structure. The thin transparent plastic that makes up the sphere inflates and deflates to fill in spaces within the form. This change in shape is also produced by motion detection technology. The gradient transforms in density as the spheres inflate. The facade 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 light and movement. The expanding on contracting plastic spheres not only allow for light to pass through the structure in changing patterns, but also creates a wave of sound from the crunching of Plastic.

TESSA 3.0 #TESSATAKESTHEFEST

The greatest contrast between Tessa 3.0 and her previous iteration is in her newfound structural integrity. While various 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 3.0â&#x20AC;&#x2122;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 sizes to work organically, filling in gaps that exist across the diversity of the four aforementioned three-dimensional shapes.

EXPLORATION VI 61

SHELLI #SHELLI #FORTUNEFIELD

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 flowing 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 â&#x20AC;&#x153;fashionableâ&#x20AC;? pavilion.

HELEN #HELENISHOUTE Helenâ&#x20AC;&#x2122;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 we were given. 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 impact on our environment. Solar energy is among the solutions which have been brought in front of us as a society. As a readily renewable resource it is one that can easily be integrated into many different projects, including our pavilion. Since we have been given the resources to power our pavilion using the sun it is important for us to make every effort to utilize it to its fullest potential. Our challenge is to integrate this resource into our pavilion in a way that does not compromise on aesthetic beauty but increases functionality. Helen seeks to do this by incorporating the solar pv panels into the herringbone pattern of panels which create its side surfaces. The interaction between user and pavilion is also essential to our design. Panels on the area of Helen which lie on the ground have areas of pressure sensitive sensors. When stepped on they activate lights in various areas of Helenâ&#x20AC;&#x2122;s sides. As festival attendees move and dance on Helenâ&#x20AC;&#x2122;s tail, she playfully responds with colors that flit and jump across her surfaces.

KINETIC CORTURE #KORTURE The triangular fabric façade was inspired from commonly used fabric techniques such as the repeated petal extrusion you see on clothing. This initial petal form was then modified into a triangular shape allowing for a more time-efficient, clean, and visually effective repeated shape. Kinetic

Couture

used

inspirer

passerby's 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

breathe new life throughout the day. Not only does the evening lighting allow the user to appreciate the pavilion in a different light but also allows the pavilion to cast shadows upon itself and the area around it.

NIMBUS #NIMBUS Data exists everywhere. It exhibits society, it inhibits society, it defines society. We as humans in this society interact with data constantly. This interaction is often unconscious and stems itself from the everyday actions of the modern world. 3 main planes exist throughout the Pavilion First, is the physical plane: browsing the internet, posting to social media, etc. A conscious, but almost instinctual action resulting from an innate desire. Secondly, there is a transfer of data on an unseen plane. Collected information travels almost unknowingly to the places and people that desire it. Lastly, the data shows itself on a separate plane than the physical plane, but it maintains the basic forms and ideas brought about from that initial interaction. Interactions all take a similar form. There is an initial input followed by an unseen transfer of data which invokes a perceivable response. NIMBUS combines the idea of an instinctual action, say 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. Here, the pavilion reveals only the path of transfer to maintain an open form. The third plane exists above, and exhibits the response from the physical input through transfer of light color. NIMBUS allows users to look up at data as a perceivable form. The cloud of data forms dense nodes connected by thinner strands. Lights represent the transfer of data from the userâ&#x20AC;&#x2122;s innate interaction into the cloud allowing them to experience the transfer.

EXPLORATION 71

VII 72

LUCI #ILOVELUCI Luci stems from the idea of being immersed in a lucid dream. The definition of a lucid dream states any dream during which the dreamer is aware that they are dreaming. During lucid dreaming, the dreamer may allegedly be able to exert some degree of control over the dream characters, narrative, and environment. Within our pavilion we wanted to create an immersive experience for small groups of people.

Pavilions simultaneously create tools for transformative action and develop visions of new social realities. Festivals as sites, and pavilions as fragments of possible architectural futures, serve as a method for advancing and expanding the possibilities of public engagement, critique, and speculation. This pavilion is presented as evidence of this claim. The project began with an idea proposed by a

student team who then constructed the tools and forms to achieve a proposal about architecture and public space. The IMRU Pavilion was sited at the Flyover Fashion Festival in Iowa City, Iowa. Through transparency, form, and light, this project challenges users with reflections of their incomplete selves and ponders the role of the individual in the summation of societal identity. The IMRU Pavilion’s name is shorthand for the dialogue users unconsciously encounter between their own perception of reality and the true Reality: “I am...” “...are you?” A man or woman’s personal reality is inescapably subjective, and is therefore embedded with “I am” statements. In this way, we are utilizing ourselves as reference points. Especially in our increasingly digital world, humans perceive and engage with the environment through a selectively fabricated lens. Our perceptions of ourselves, and our perceptions of the world, although perhaps convincingly accurate, are subjective, and therefore certainly counterfeit realities. However, IMRU seeks not to expose and accuse our counterfeit realities, but simply speak to their relation to one another and reveal their collective effort at coming closest to representing Reality. For it is the dynamic conglomerate of all our subjections that best embodies our collective, objective identity. By exploding and scattering what is seen, IMRU disables the passerby from using him or herself as a reference point. All reflections become decomposed units of the collective, and each fragment becomes lost in the nonhierarchical sea of other fragments. In a seamless mirror’s reflection, one perceives one’s self as the foreground and the key reference point by which everything else in the reflection is understood. On IMRU, one’s view of the reflected world transcends his or her’s

own perspective. Individual perceptions of reality are realized amongst each other as amalgamated and equally subjective fragments of the collective.

IMRU

REFLECTION, ILLUSION,

GRID,

DELUSION,

MULTI-DIMENSIONAL,

INDIVIDUAL,

SCATTER, BIT,

EXPERIENCE,

COLLECTIVE,

SCRAMBLE,

CUBE,

SHEAR,

ALTERED

PIXELATION, PUZZLE,

QUASI, UNIT,

SCRABBLE,

MIX, CROOK, IMPOSTER, COUNTERFEIT

IMRU MIRRORS WHAT IT SEES IN ALL DIRECTIONS, MOMENTARILY EXPANDING AND CONFUSING WHAT IS OTHERWISE THE

PEDMALL’S EASTERN BORDER. THE

PAVILION’S FORM MODULATORY

IS COMPRISED

WALLS,

OF MULTIPLE,

PROVIDING

MULTIPLE

FACADES FOR PASSERSBY TO EXPLORE AND ENGAGE.

A SCRIPT WAS DESIGNED TO MODULATE OUR 6”X 6” CUBES INTO SERPENTINED CURVED WALLS.

THE SCROPT ALLOWED US TO DO VARIES

CALCULATIONS AND TRANSFORMATIONSOF OUR PAVILION IN ONE PLACE.

THROUGH THE SCRIPT WE COULD SET THE CURVES WHICH ATOMATICALLY CALCULATED HOW MANY BOXES OF WHAT SIZES AND AT WHAT DEPTHS WOULD BE NEEDED TO CONSTRUCT.

THE COLORS SHOWN ON THE MODEL

ON THE LEFT INDICATE THE DIFFERENT SIZEZ AND LOCATION.

FORM ITTERATION

THE

SCRIPT HELPED TO GENERATE A VARIETY OF DESIGN

ITERATION TO FIND THE STRONGEST STRUCTURALLY AND VISUALLY.

THE

CURVED WALLS CREATED GREATER DEPTH

TO THE ALREADY PIXILATED ELEVATIONS.

STRUCTURALY

THE FORM BECAME STRONGER WHEN WE MAXIMIZED THE SPINE CONNECTION BETWEEN THE WALLS TOPS.

THE

AND OUT FLUX OF THE WALLS CREATES DYNAMIC POCKETS WITHIN AND AROUND THE EXTERIOR CREATING MOMENTS OF INTERACTIONS.

THE OCULUS CREATED IN THIS ITERATION BRINGS LIGHT

INTO

THE

SPACE

AND

STRUCTURALLY

CONNECTS THE TWO LARGER PARELLED WALLS WITH THE PERPENDICULAR WALL BY THEIR TOP SPINES.

IM_RU 93

IN THE FINAL VERSION OF IMRU 3 ENTRANCES WERE CREATED THROUGH CURVING 3 WALLS

F I N A L

P R O P O S A L

CONNECTED BY A SINGLE SPINE.

THE STRUCTURES DYNAMIC RHYTHM CREATES INTERIOR AND

EXTERIOR NODES MEANT TO DRAW PEOPLE INTO GROUPS AND THEN DISPERSE INDIVIDUALLY ON.

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101

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I O W A C I T Y, I A PEDESTRIAN PEDMALL

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THROUGH OUR DESIGN PROCESS WE’VE EXPERIMENTED WITH A HANDFUL OF MATERIALS AND TECHNOLOGIES.

MATERIALS WE’VE EXPLORED INCLUDE WOOD, METAL, FABRIC, PLASTIC, ACRYLIC, PLEXIGLASS, CONCRETE, PVC PIPING.

WE ALSO WORKED WITH TECHNOLOGIES SUCH AS

CNC ROUTING, DREMEL 3D PRINTERS, DI WIRE BENDER, ARDUINO SENSOR COMPUTING, LIGHTING, 3D MODELING & RENDERING SOFTWARE.

FINAL MATERIAL LIST: 3D PRINTED JOINTS 1/8” GALVANIZED STEEL RODS 6” X 6” PLEXIGLASS MIRROR CONCRETE LIGHTING

COMPONENTS 106

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WIRE

WIRE HAS BEEN THE MATERIAL WE HAVE CONTINUED WITH THROUGH ALL ITERATIONS. WE BEGAN BY EXPLORING WIRE BENDING WITH DI WIRE TECHNOLOGY. THE DI WIRE MACHINE TAKES WIRE FROM A SPOOL AND BENDS IT INTO FOUND THAT WIRE SEGMENTS LARGER THAN WHEN PRESSURE WAS APPLIED.

2D AND 3D SHAPES. WE

12” LONG STARTED TO BEND AND BOW

FOR OUR FINAL DESIGN WE’VE DECIDED TO CUT THE 1/8”

WIRE INTO SMALLER SEGMENTS TO MAXIMIZE THE STRENGTH OF THE WIRE AND USE THE

3D JOINTS TO ENHANCE STABILITY. IN THE AFTERMATH OF THE PAVILION WE WILL RECYLE THE WIRE TO BE USED BY NEXT YEARS STUDIO.

S UPPLIER:

SARGENT METAL FABRICATION ,

12’ L X 1/8” DIA.

108

STAINLESS STEEL WIRE

AMES IA

(X670) =

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JOINTS (DREMEL 3D PRINTING

SNAP CLIPS— USED TO CLIP MIRRORS TO WIRE

THROUGH EACH ITERATION OF OUR DESIGN PROCESS

WE’VE

MULTITUDE OF TESTED

DESIGNED,

PRINTED

AND WIRE TO WIRE

3D PRINTED JOINTS TO BE

BECOME

OUR

FINAL

FINAL PRINTING HOURS: 3 WAY JOINT—

CONNECTION POINT WITHIN OUR PAVILION.

WE’VE MET OUR SHARE OF DIFFICULTIES

JOINT QUANTITY : 4,144 JOINTS = 1,036 BLOCK

USE TO

CREATE WIRE BLOCK FORMS

AND SET BACKS THROUGH THIS PROCESS.

WHETHER THAT BE USER ERROR OR TECHNOLOGICAL DESIGNING

THE

GLITCHES. PAVILIONS

AFTER MODULATED

STRUCTURAL PARTS THE DESIGN OF THE

CUBE JOINT— USE

JOINT

WAS

CREATED

TO CREATE WIRE BLOCK FORMS, THE

ENHANCE CUBES ESTRA MATERIAL WAS HELPFUL IN

STRENGTH

AND

DURABILITY.

STRENGTHENING THE JOING.

THE

CUBES

INCOMPLETION OF THE PAVILIONS LIFE THE

VOID ALLOWED THE MIRRORS TO SANP

3D PRINTED JOINTS WILL BE TURNED BACK

INTO THE JOINT WITHOUT HAVING TO HAVE OTHER CLIP JOINTS

INTO

FILAMENT

FOR

REUSE

THE

FILABOT MACHINE. TRIANGULAR JOINT—

DESIGN —> MESH —> PRINT —> JOINT —> FILABOT —> FILAMENT —> REPEAT

THE

DYNAMIC TRIANGULAR JOINT ALLOWS

NOT ONLY THE BLOCKS TO FORM, BUT SPACE FOR THE MIRRORS TO SLIDE INTO AND SIDE CLIP AREA FOR THE BLOCKS TO CONNECT WITHOUT ANOTHER JOINT.

THE

DYNAMIC DESIGN OF THIS JOINT ALLOWED FOR

SINGLE

EMBODIED

JOINT

DESIGN

CHARACTERISTICS

PREVIOUS JOINTS

THAT ALL

DREMEL 3D IDEA BUILDER— MULTIPLE JOINT

ITERATIONS OF A PLETHORA OF

DESIGN

AND

TRIAL

AND

ERROR

PRINTS WERE DONE TO CREATE THE FINAL JOINT DESIGN FOR OUR PAVILION. COUNTLESS

THROUGH

HOURS WASTED ON

FAILED

PRINTS, JAMMED LINES, AND DEFECTIVE PARTS WE CAME TO APPRECIATE THE ART TO

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3D PRINTING.

112

MIRRORS RESEARCH OF THE FLYOVER FASHION FEST AND

THE

LINEUP

ACTIVIST

INVOLVED,

PROMOTING SELF RESPECT AND EXCEPTANC O F ONE SELF WE FOUND REFLECTION COMING UP IN CONVERSATION REPETEDLY.

THIS LED TO

OUR EXPERIMENTATION WITH MIRRORS.

BASED

ON OUR CONCEPT OF A FALSE SENSE OF SELF AND PIXELATED IMAGE OF REALITY WE DECIDED TO SCALE DOWN THE MIRROR SIZE TO CREATE THIS JUMBLED EFFECT.

AFTER EXPLORING

CUTTING MIRRORS BY HAND WE FOUND THE SAFEST

WAY

ACHIEVE

CLEAN

SAFE

AMOUNT OF SAME SIZED MIRRORS WAS TO OUTSOURCE

THE

MIRROR

CUTTING.

THE

MIRRORS WILL BE DONATED AFTERWARDS TO THE

FIGGIE ART MUSEUM IN DAVENPORT IOWA

FOR FURTHER INSTALLATIONS.

SUPLIER: COUNTRY PLASTICS, AMES, IA QUANTITY: 400 6” X 6” PLEXIGLASS MIRRORS

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CONCRETE CONCRETE BLOCKS MIMICKING OUR WIRE CUBES WERE INCORPOARATED 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 PLASCED EVERYOTHER THROUGH THE BASE OF OUR

PAVILIION.

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 INCORPRATING LIGHT PLAYS A KEY IMRU. THE

PART IN THE DESIN OF

LIGHT IS USED TO HIGHLIGHT THE PAVILIONS LIGHT

FEATURES.

KEY

BOUNCES

OFF

THE THE

REFLECTIVENESS OF THE MIRRORS AND

WIRE

CASTING

GEOMETRIC

SHADOWS

SURROUNDING FIGURES.

DYNAMIC

SURFACES

LUMENS

AND

DISTANCE

PROJECTION

IMPORTANT

WHEN

LIGHT. LIGHTS

ON OR LIGHT WERE

SELECTING

ANOTHER ASPECT OF THE WE

LOOKED

INTO

WERE

BATTERY POWERED VS. HARD WIRED LIGHTING.

BATTERY

POWERED

LIGHTING WAS THE FINAL DECISION FOR OUR AMBIENT LIGHT IN ORDER TO

INCORPORATE

LIGHTS

WITHOUT HAVING TO HIDE WIRES.

THE CONCRETES HEALD SMALL THAT

INSET

BLOCKS

LED FLASHLIGHTS

CREATED

THE

DRAMATIC

SPREAD OF LIGHT THROUGH THE PAVILIONS WALKWAY.

EACH MIRROR

HAD A SMALL DRILLED OUT HOLE IN THE

TOP

WHERE A

SIDE

THE

MIRROR

BLUE LED LIGHT SET IN

AND HELD THEIR ALONG WITH ITâ&#x20AC;&#x2122;S BATTERY WITH A

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3D PRINTED HOOK

118

B LUE REPRESENTS CONFIDENCE AND TRUTH AND I S S A I D T O B E B E N E F I C I A L T O T H E H UM A N B O D Y .

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C OM PO NENT CONSTRUCTION 121

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126

I NSTA LLATION

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DESIGNING AND CREATING A

PAVILION OUR TEAM

WORKED SO HARD ON COULDN’T GO UNNOTICED. WE TOOK OUR PAVILION TO SEVERL DIFFERENT SOCIAL MEDIA PLATFORMS: INSTAGRAM, FACEBOOK, SNAPCHAT. COLLECTING DATA AND FEEDBACK FROM PEERS AND OTHER DESIGNERS WHILE PROMOTIONG WHAT WE’VE LEARNED

THROUGH

OUR

COLLEGIATE

CAREERS

CRUCIAL TO OUR GROWTH AS DESIGNERS.

#IM_RU

SOCIAL MEDIA 141

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S N A P C H AT

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I N S TA G R A M

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INTRODUCING

Inspired by the activist and creative individuals casting presence and

promoting self awareness and acceptance at Iowa City’s Fly Over Fashion Fest we present IMRU. IMRU asks the question , “I AM ARE YOU?”

This short question is powerful in its simplicity. Who we

believe to be in the world comes in many altered versions by how we and others perceive us. The image we create of ourselves and what we believe we express to the world is viewed in other perspectives by loved ones and even more by strangers. It’s accepting our own frame of mind of who we are and the impacts we leave that matters as a

whole. So the question IMRU? That’s for you to answer.

I AM present ARE YOU? I AM living my truth ARE YOU? I AM who I am ARE YOU?

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S I T E

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I N S TA L L AT I O N

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START TIME: 9AM MAY 5, 2017 FINISH TIME: 5:30PM MAY 5,2017

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#IM_RU

FABRICATING POTENTIALS 2017 @ISUDESIGNBUILD #IM_RU