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Chris Lasch, REPEAT Competition Juror

This is the third in a series of posts about our jurors for the REPEAT Digital Fabrication Competition, leading up to our 10/31/10 deadline for submissions, and serving as an introduction or an elaboration on what they bring to our discussion with regards to their professional and academic pursuits.

Chris has managed the unique blend of leveraging the academic environment with the professional arena through teaching and lecturing internationally. Chris is currently teaching at Arizona State University for the 2010/2011 academic year.

Chris, along with Benjamin Aranda, founded Aranda\Lasch, in 2003.  The practice has pioneered the application of innovative technologies and been identified as one of the leading voices in the exploration of digital technology as applied to the design process. Aranda\Lasch were awarded the Young Architects Award from the Architecture League and United States Artists Fellowship in 2007. Their early work was published in the critically acclaimed Pamphlet Architecture 27: Tooling in 2005. Having participated in the Seville and Venice Biennial with Mathew Ritchie in 2008, this year Aranda\Lasch was awarded the prestigious honor to be selected as the practice representing the United States at the 2010 Venice Biennial.  Arranda\Lasch, with Island Planning Corporation, installed ‘Modern Primatives’ as a series of aggregated components configured to accommodate seating and other forms of social interaction according to the theme set out by Kazuyo Sejima entitled ‘People Meet in Architecture.’

As a long time friend and colleague, TEX-FAB is excited to have Chris participate as a judge for the REPEAT competition and as one of our instructors for the workshops being held at the University of Houston on February 12th and 13th, 2011.

www.arandalasch.com/

Q&A

You have recently been teaching at Arizona State University – what do you see being the greatest challenges/ opportunities to your new location? (Temperature is not the answer we are looking for!)

The desert is an amazing place, and what is true of plants and animals is also true of architects: living in a desert makes you tough. As a result, Arizona seems to have more than its fair share of good architects. Building in a place of limited resources (environmental, financial…) forces an improvisatory approach to projects, the best architects here take those constraints and turn them into valuable parts of the design process.

Arranda/Lasch, with Island Planning Corporation (IPC), recently participated in the Venice Architecture Biennale. What can you tell us about the Modern Primitives project regarding the process of design and fabrication, as well as the experience of participating in the event?

The event itself is incredible, its a really unique opportunity to witness a global cross section of whats currently being thought about in architecture. Its not exhaustive by any means, but getting the opportunity to look at our work in that broad of a context is inspiring and, at times, more than a little humbling.

For our project, we wanted to create a space that could be *used* throughout the exhibition, sometimes as an informal event space, otherwise as a lounge or hang-out place. So the project became about furnishing a space with a large collection of experimental furniture. Each piece was a different aggregation of identical units, or rather, the same shape across scales. The pivotal moment in the project came as a fabrication discovery, we discovered a three-dimensional unit shape that could be fabricated using only two two-dimensional cuts. This allowed us to move production to a cnc hotwire cutter and the process boiled down to cutting a large foam block from two cutting paths with a ninety-degree rotation of the block between paths. At the end of the process, the 4′x8′ block is atomized into a ton of identical pieces with very little waste. We were able to produce hundreds of units in a matter of minutes.

This, along with a spray-on truck bed liner for a hard coat, allowed us to produce the amount of material we needed within the punishing timeline of the Biennale.

What are some of the more architecturally peripheral technologies that you are exploring in your practice? What are you working on currently and can you give us a sneak peek at anything?

We are really excited by the prospect of mobile application development (building apps) for location-aware devices like smartphones and the iPad. They know where they are in the world and what orientation they are being held, they are networked and they bring cool new ways to interact with information through the touchscreen. They are basically an irresistible creative platform for architects. We are currently developing our first iPhone app. I wish I could show it to you because that would mean that it is done. As it is we still have a lot of work to do but stay tuned…

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Kevin Patrick McClellan Presents ‘Emergent Effects: Form and Organization’

Kevin Patrick McClellan presented his AA DRL team thesis and TEX-FAB at the AA Visiting Schools Programme at the Universidad Iberoamericana School of Architecture on October 11th. The lecture topic, ‘Emergent Effects: Form and Organization’ was one of several presentations throughout the day that covered the work being produced by ex-AA graduates while there and afterwards.

Below is a clip from the website:

SYMPOSIUM
A one-day event of lectures-presentations given by staff and alumni of the Architectural Association will be organized as a preface of the AA visiting school in Mexico City in January 2010, within the Architectural Week organized by the Universidad Iberoamericana School of Architecture In October 2010.

It will be an opportunity to show and present the work and research methodologies being developed at the Architectural Association, Graduate School with AA graduates.

The Mexico city Visiting school will using the Landscape Urbanism methodology develop at the AA, and lecturers invited to the symposium will share and comments upon their own research thesis and the use of these methodologies in the work carried out outside the school within each individual practice and teaching experiences. This way the symposium will intend to contribute to the exchange of ideas and will confront the leading issues shaping architecture, design and urban culture at the outset of the twenty first century.

Link to the Mexico City AA Visiting School:

http://mexico.aaschool.ac.uk/

AA School Mexico City

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Brad Bell lectures at OU

On October 12th Brad Bell delivered a public lecture at the University of Oklahoma entitled “Hybridization, Aggregation, Computation” as part of the semester long series called Managing Dilemmas:  Net-Zero Energy / Eco Footprint in the Built Environment. Brad lectured on the application of digital technology and parametric modeling as a method by which performative criteria may be integrated into the architectural design process to provide optimized solutions.

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REPEAT Competition Geography

Good luck to all of the individuals and teams who have entered the REPEAT Digital Fabrication Competition.  There are 95 teams of 1-4 designers from 19 states in the US, 15 countries and 5 continents!  Submission deadline is October 31st, 2010 at Midnight.  TEX-FAB and the Jury are looking forward to seeing all of them.  Let us know if you have any questions regarding the submission process.  Keep your “Competition Downloads” page bookmarked please.

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Lisa Iwamoto, REPEAT Competition Juror

This is the second in a series of posts about our jurors for the REPEAT Digital Fabrication Competition, leading up to our 10/31/10 deadline for submissions, and serving as an introduction or an elaboration on what they bring to our discussion with regards to their professional and academic pursuits. Lisa is an Associate Professor of Architecture at UC Berkeley, and the author of Digital Fabrications: Architectural and Material Techniques in 2009.

As principal of Iwamoto/Scott Architecture, the firm has been widely recognized as a leading voice in the application of new CAD/CAM technologies to practice and applied design research.  The work of the firm has received numerous design awards and been published extensively. Currently, IwamotoScott is participating in the Cooper-Hewitt National Design Triennial and has recently completed several new built commissions including the Obscura Digital Headquarters and the ONE Kearny Lobby.

www.iwamotoscott.com

Q&A

How does working in San Francisco influence or enhance your work?  How does your teaching position at Berkeley play into the equation as well? Are there ways that you see your practice as regionally focused?

I don’t think of our practice as a “San Francisco” firm. As with many firms these days, our work is intentionally in many different cities and countries. I do see us however as a US firm, which means that academia is increasingly important since design experimentation often comes through teaching given the relatively conservative planning and construction industry here.

In the last several years your work has ventured into more urban and larger scaled projects.  What changes have you made to how digital technology and digital fabrication are being applied as a result of this change in size and complexity?

Scale shifts as with any change in medium come with necessary design, material, and technological translations. We’re becoming increasingly interested in structure as a driver of design, and developing material techniques to address non-symmetrical, non-uniform stress conditions. Relation to site and environment also affect our material systems, though it is important in our work that no single aspect of the design becomes totally optimized. It is far preferable that there is a synthetic reading among the competing concerns of the project.

What are you working on currently – in both teaching and in practice? What is on the horizon for Iwamoto/Scott in terms of the direction of your work?

We’re entering an exciting new phase of work, which is catalyzed by moving into a new office/workshop space we designed for a world-renowned immersive/interactive digital media company, Obscura Digital. In tandem with building the bricks and mortar side of our practice, we’re simultaneously looking into the more ephemeral, atmospheric conditions of environment through collaborations with them.

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3D Printing Workshop at the Dallas Museum of Art

On September 25th Brad Bell and students from the UTA School of Architecture hosted a 4-hour workshop on 3D printing as part of the C3 Encountering Space Exhibition at the Dallas Museum of Art.  Several hundred visitors were introduced to the application of this technology through architectural models and direct demonstration. The workshop was supported through the generous assistance of the following students: Lance Abaya, Heather Stoker, Jon Holden, Matt Crowly and Stephen Bundy.

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Blair Satterfield, REPEAT Competition Juror

This is the first in a series of posts about our jurors for the REPEAT Digital Fabrication Competition, leading up to our 10/31/10 deadline for submissions, and serving as an introduction or an elaboration on what they bring to our discussion with regards to their professional and academic pursuits.  Blair Satterfield has recently flipped his locale if not his allegiance from the Dirty South to the Great White North and landed an Assistant Professor position at The University of British Columbia SALA.  We know Blair from many crit swaps between UHCoA and Rice SOA and happy hours in between.

His work with Marc Swackhamer in HouMinn has been impressive over the years in its consistent and relentless pursuit of the nature of performative building envelopes.  Their materiality and methods of fabrication have been manifested through a series of studies that have built upon each other’s innovations while each being compelling on their own. These prototypes are intense moments within larger systems that call into question all notions on what a building skin can do and how it’s made.

Blair has been an early contributor to the Hometta collection of modern homes with the Draft House.  It looks like a domesticated hot rod engine with light monitors that scoop the air into a shotgun house typology.

The OS Wall was first exhibited at the UHGBC inaugural Expo during the Fall of 2009 and is now part of the traveling show, curated by Christopher Hight, called Envelopes. The OS Wall features a series of vacuum formed cladding modules that are being explored as clip-on Apps and will function as climate control and water catchment systems.  HouMinn organized a competition for designers to come up with ideas to fill their cells with unique and innovative apps of their own.”

Q&A

What will you miss most about Houston in terms of the growth of your
practice or is geographic location irrelevant?

Houston is a major port, a global center for medicine, and an oil town. Houston is Space City! All of these pursuits involve using technology to investigate, overcome, and reshape potentially hostile environments. They also require the participation of large groups of highly motivated and skilled individuals to succeed. In fact, there would be no Houston as we know it if it weren’t for a combination of opportunity, air conditioning, and the Herculean group effort necessary to make a city in a hot, humid subtropical wetland. This city is the manifestation of the fervent belief that commerce and technology can conquer all. This spirit of overcoming as a group and utilizing all possible tools to do so is Houston in a nutshell (all with comfort food of course). It is the idea of Houston that I will take with me to Vancouver, and back whenever possible. If I can’t find it, or recreate it, I will miss it very much.

What opportunities are you finding in Vancouver that might transform your
projects in new and unexpected ways?

Nature.  A big difference between Houston and Vancouver is how each views the physical environment. In Vancouver, the physical world is something to participate in. In Houston the culture is one of opposition.  The material world is a resource to be managed and tolerated. This difference impacts the placements of boundaries and envelopes. I am finding a world of gear and machinery designed to make a person faster, warmer, dryer, more buoyant, and safer. It is sometimes a subtle shift but it is one that is already impacting our work. The body occupies the “exterior” space and the skin, or envelope becomes more intimate. Instead of heating an entire space that is a controlled microclimate, the body is heated locally and the microclimate is carried by the body. The winter Olympics was a great experience because it heightened this relationship and carried it to extremes. From the vantage point of program, the dynamism and “flash-mob” quality of the film, television, and gaming industries seem loaded with potential. “Shoots” pop up in the city almost like mini-weather events. They snarl traffic and inject capital in a fixed location for a week or two and then disappearing. There is randomness to the events because locations are picked based on story line and not a preconceived notion of place or space. This means the filming might occur in a park for a month (Twilight), a China Town slum for a day (Psyche/Human Target), or a converted shopping mall for a solid year (Mission Impossible 4). It is a kind of roulette that provides temporal jolts to the economy, almost like mercantile acupuncture. It is definitely an interesting phenomenon to consider.

How does Houston in terms of its unique industry and culture relate to the
charge of the REPEAT Digital Fabrication Competition?

Houston is a manufacturing hub. There is no limit to what can be fabricated or assembled in the city. It goes beyond simple capability. I have always found fabricators in Houston to be genuinely interested in ideas. They are doing far more than simply completing tasks. If the designer is willing, the fabrication community in Houston is more than willing to provide iterative feedback on work. This flattening of the relationship between design/designer and fabricator/builder is at the core of REPEAT. Input and output are not two different ideas.


What are you working on currently?  Any preview images?

In the spirit of REPEAT, I am current reinstalling OSWall at the College of William and Mary. Marc (Marc Swackhamer is Blair’s partner in HouMinn) and I are reconstructing the prototype as a part of the Envelopes Show that originally ran at Pratt last spring. We are really excited to be working with the prototype again. The cycle of assembly, disassembly, and reassembly tells us so much about detailing, durability, and logic sequences. We find so much that can be improved upon or eliminated. It is the benefit of working at full scale and with real world output.

Beyond the installation, HouMinn has been asked to collaborate on the developing a few small scale products. This is a welcome shift for us. We are working on responsive mold for forming plastic sheets, and we are continually working on Hometta.

www.sala.ubc.ca

www.houminn.com

www.hometta.com

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Ben’s Tempietto

In 1986, at the height of the PoMo frenzy, a young Ben Nicholson and students built a full scale version of Donato Bramante’s Tempietto di San Pietro in the atrium of the UH College of Architecture. The newly minted building designed by Philip Johnson, itself a near-kitsch knockoff of Ledoux’s Saltworks, serendipitously has a monumental space the same dimension as the courtyard containing the real Tempietto. It was constructed of cardboard over a semester and subsequently destroyed.

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Brad Bell Lecture and Workshop at UTSA

Brad visited UTSA on March 26th to give a lecture on the work being done at UTA. Brad spoke about the TEX-FAB effort and the success of the February workshops, the impact on the school and within the architectural community there. His lecture covered a broad range of topics nested within the discourse of digital design, its implementation and processes. Additionally Brad lead a day-long workshop that covered both 2D and 3D parametric techniques within Adobe, Rhino/ Paneling Tools which resulted in small laser cut prototypes and digital structures.

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Partial Architectures

UNIVERSITY OF TEXAS AT ARLINGTON, SCHOOL OF ARCHITECTURE
02/05/10 – 03/10/10

While the capacity to move across various 2D and 3D digital design platforms suggests a new type of agility for architects and designers, this capability is still largely in an early state of gestation. To some extent the role of these emerging methodologies are most profoundly explored at scales and in modalities not directly confronted by full architectural programs or design requirements. Rather, the partial or the abbreviated become micro-excursions into the possibilities of what these tools and technologies might foreshadow. The incomplete, in this regard, provides a critical stage in developing the evolution of digital design. By focusing on more detailed scales of development and fabrication it is possible to test the physicality of this type of architecture in more rigorous terms. To some extent, the process leading to authoring certain qualitative effects becomes the most tangible result of the partial architecture.

The links below illustrate a selection of work produced by students at UTA from 2008-2009 as an exploration of Partial Architectures. These projects were placed on exhibit in conjunction with workshops and lectures held at UTA in February of 2010.

Surface Tension: Nick Richardson, Ronnie Schmidt, Joey Meija
Structural Phototropism: Erin Keith, Rachel Kluger-Weston
Cumulative Grain: Pani, Sedighzadeh
Morphosyntactic Camouflage: Lance Abaya

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