IwamotoScott. Works. DigDesFab - WS Rhina Portillo & Raphael Laurintytär

Transcription

1 IwamotoScott Works

2 Lisa Iwamoto Master of Architecture degree with Distinction from Harvard University Taught previously at Harvard University Architectural Intern at Morphosis. Currently an Assistant Professor at University of California Berkeley. Design research concentrates on the perceptual performance of material and digital fabrication techniques. Craig Scott Master of Architecture degree with Distinction from Harvard University Architectural Designer at Morphosis. Taught previously at the Harvard University, University of Michigan and Yale Currently an Associate Professor of Architecture at California College of the Arts. IwamotoScott

3 A San Francisco-based architecture and design practice Committed to pursuing architecture as a form of applied design research, their design approach proceeds from in-depth research coupled with creative experimentation. Generative concepts are tested through speculative form-finding and iterative modeling in both physical and digital media, pursuing innovation in use of material and configuration of space. Ultimately, the work aims to produce an experiential synthesis of formal affect and spatial effect. Architecture

4 IwamotoScott was hired to design the concept store space based on a less conventional retail model for M.A.C. Cosmetics, in New York, Eight initial design iterations were produced for two different locations, with each exploring the idea of an interactive wrapping liner that filters light and view through the storefront windows. the TriCell design was taken through design development and construction documents, then adapted for a second smaller stores. Works

5 Jellyfish House is modeled on the idea that, like the sea creature, it coexists with its environment as a set of distributed, networked senses and responses. Jellyfish have no brain, no central nervous system, no eyes, and consist largely of the water around them. Yet, they sense light and odor, are selfpropulsive, bioluminescent and highly adaptive to changing aquaculture. Like jellyfish, the house attempts to incorporate emerging material and digital technologies in a reflexive, environmentally contingent manner. The house is designed as a mutable layered skin, or deep surface, that mediates internal and external environments. The skin is designed as a parametric mesh that uses efficient geometric logics of Delauney triangulation and the Voronoi diagram. It deforms in thickness locally for geometric, structural, visual, and mechanical performance. Works

6 Structural Concept Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system. The design fills the gallery with a system of vaults to be experienced both from within and from above. The edges of the vaults are delimited by the entry soffit and the two long gallery walls. Spatially, they migrate to form greater density at these edges. Structurally, the vaults rely on each other and the three walls to retain their pure compressive form. The fourteen segmented pieces also resolve to make a series of five columns that support the interior and back edge. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics -- greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. At the same time, the petals -- our reconstituted voussoirs, typically defined as the wedge shaped masonry blocks that make up an arch -- are reconsidered here using paper thin material. Voussoir Cloud

7 Material Strategy The three dimensional petals are formed by folding thin wood laminate along curved seams. The curve produces an inflected and dished form that relies on the internal surface tension of the wood and folded geometry of the flanges to hold its shape. The flanges of the resulting dimpled, concave petals pack together as compressive elements and press upon each other. This attribute naturally creates vaulted forms and led initially to the overall design. By beginning with a material operation of folding using small handmade models to test geometric relationships of bending along a curved seam, the design and construction process that followed focused on calibrating the relationship of digital model to physical corollary through iterative empirical testing. Each cell behaves in a slightly different manner based on its size, edge conditions, and position relative to the overall form. Voussoir Cloud

8 GEOMETRIC AND COMPUTATIONAL STRATEGY The curvature of each petal -- its dished shape is dependent upon its adjacent voids. First, the plan curvature at each petal edge is defined by its end points and a set of tangents with neighboring modules based on the centroid of the adjacent void. The sectional deformation of the petal is then proportionally related to this plan curvature. If the flanges of the petal are perpendicular to the original cell surface, the proportion is one to one. At any other flange angle, the amount the petal dishes in section varies proportionally with the plan curvature at each edge. a computational script was developed for the Rhino model that managed the petal edge plan curvature as a function of tangent offset -- the more the offset, the greater the curvature. They have greater offset, and more curvature at the top to create the dimpled effect on the interior. The Rhinoscript instantiated each of the 2,300 petals according to these criteria. Once the three dimensional petal geometries were digitally modeled, a second batch process was developed to unfold each petal for laser cutting. Finally, the petals are reconstituted by folding along the curved score lines, and simply zip tied together. It is a light, porous surface made of compressive elements that creates atmosphere with these luminous wood pieces, and uses this to gain sensorial effects. Voussoir Cloud