As part of the research for the Princeton Envelope Group, this envelope was developed in pursuit of an envelope as atmosphere. As opposed to considering the envelope as a hermetic seal, this facade breaths, conditions, and cleans. This specific prototype is for the American Apparel factory building in Los Angeles. Because of the client has an abundance of material and knowledge in fabric, this facade was designed to be fabricated in house, and cast in place with concrete. The thermal mass of this concrete (in conjunction with the designed geometry) cools the air during the warm days in LA.
Periscope is the winning entry in the 10up international competition. The competition brief requested a temporary installation to act as signage for the Modern Atlanta Event that could be installed in 24 hours in a plot 10'x10' and for less than $5,000. Matter in collaboration with Dave Pigram of Supermanoeuvre and Matt Johnson of SGH proposed to build a 50' tall foam tower. The tower went up in only 6 hours with the aid of Tierson Boutte of Boutte Tree.
Periscope has been selected as the winning entry in the 10Up Competition. Fabrication (Robotic Hot-wire) has begun in preparation of the June 1st installation date. The proposed design is a 50 ft tall tower. Come join us for the opening ceremonies.
Matter is proud to announce the Drawn Dress will be published in Issue 8 of Pidgin Magazine. Join us at the release party for champaign. Details below.
Friday, March 26, 2010
Time: 7:00pm - 9:00pm
Location: Center for Architecture
Street: 536 LaGuardia Place
City/Town: New York, NY
Charged with the task of developing a contemporary villa architype, these 3 models represent the theory of malleable space. Each model represent a moment in time of a continuously transforming space -- a single occupant pod for living. Situated in the north Atlantic Ocean, the pod's envelope reconfigures in response to program, structure, and environmental concerns. When the pod encounters rough water, it closes up and protects the inhabitant. As the seas calm, the envelop gradually opens. This malleable architecture questions the conventional space planning phase of design where functions are separated into multiple rooms forever dedicated to a single purpose -- bath, kitchen, bedroom, living... In these pods, you don't change spaces to perform different function, the space changes in response to your function creating a reciprocal relationship between the occupant and the envelope.
These scale models are constructed from the same geometric principles researched in the malleable foam research project.
Typically in designing a residence, flexibility in design is limited to certain irreducible factors. A minimum bathroom is 5' X 7'. This bathroom contains a shower or bath, a toilet, and a sink -- all with their individual dimensions and functions. By addressing the typology of bathroom, both function and flexibility have a direct relationship with the human body. When each of these specific porcelain objects are viewed topologically, we can see each is composed of a water supply and a water return. Beyond these elements, the specifics of dimension are dictated by (1) the function, and (2) general human proportions and dimensions.
Removed from the restrictions of a 5'X7' bath, we consolidated all wet functions into a single malleable space. This space is comprised of a water supply, water return, and a silicone surface that configures itself in response, not only to general human dimensions, but to the specifics to the occupant's body.
As part of the Fall 2009 Robotic Fabrication course, students challenged the traditional limitations of the 3d printing process. One big limitation is the scale/cost ratio. Several researchers have proposed building-sized fabrication machines, but all rely on massive gantry-type machines….massive in cost and limited in mobility.
This project seeks to propose the process not just for full scale modeling, but instead for the full scale fabrication of actual building components. The process is a hybrid between additive and subtractive techniques to create a net-shape building component. This part can then be coated as well as filled internally to provide structure and surface rigidity. Precedents include the typical ICF concrete forms as well as the foam core composites used in high end structures requiring double curvature. Even if used simply as a mold production process, the material savings occurs from eliminating a majority of the waste created in a purely subtractive process such as milling EPS foam blocks for molds. The ability to extrude a tooling paste over the surface has already been proven in the aerospace and wind turbine fabrication industries.
Certainly the topological freedom of 3d printing has already been proven, but not at the building scale. Integrated electrical and mechanical passages are just one possibility. The capability to create limited overhang without a supporting scaffold is also a major advantage, requiring the ability to angle the extrusion nozzle. Future research includes the application of GFRC/P (glass fiber reinforced concrete or polymer) coatings as well as back-filling structural reinforcement into the voids created.
Student credits
Lead: Kris Walters
Team:Les Key, Jae Ryong Oh, Jonathan Puff, Dan Weissman
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This full scale mockup is a part of the larger research project addressing malleable architecture. We charged ourselves with the task of producing a physical showcase of the concept. In theory, the robot would constantly carve the wall, re-producing an envelope required for each moment in time. By utilizing a variable cone boolean operation, the inherent system that constructs the perforations in the wall are topologically intelligent enough to respond to scale and porosity.
More to come soon regarding the relevant research.
Brandon Clifford has been invited to present the 'Drawn Dress' at this years Princeton Research Symposium on Saturday December 5th. The PRS2009 is open to the public and registration is free.
Here is a sneak preview of the process in the Drawn Dress series. Starting with a 3d body scan and moving through the robotic fabrication, our model Victoria Lee proves that not only the drawing of the dress is variable, but the reality is as well. More drawings, images, and animations of the Drawn Dress project to come.
To accompany the digital body scan, we decided to go all 'digital' for phase 2 of the 'Drawn Dress' project. Here is an animation for your enjoyment of Wes and his Robot cutting the custom dress geometries.
Each cast is the result of a 2d pattern drawn digitally and laser cut. These patterns are cut from rigid wood and elastic rubber. The liquid state of the plaster in combination with pressure stretches the malleable rubber. The result if a 3d form. Over 'time' the plaster solidifies into the objects viewed above. Each of these are snapshots that represent the specific circumstances of each material and process.
Starting with a laser cut pattern, a thin layer of latex is stretched over and clamped between two box molds. Surprisingly, the process is rapid with a de-molding time of 20 min. I found the process quite hypnotizing. When the pattern is developed, you can only speculate as to what the final product will be. At each de-molding, you are left with empty box molds waiting another casting.
We have been fortunate enough to have our model digitally scaned and digitized into an avatar by the very generous people at [TC]2. This is proving to be invaluble to the drawing process. Analagous to direct draping, we are able to draw directly on our 'model' and generate custom garments.
Considered to be our proof of concept, these three dresses were all designed digitally. While the design varies only slightly, the material impact is enormous. From left to right - muslin, stretch jersey knit cotton, and non-stretch cotton. While none of these materials are recommended for this design, they will serve as a comparative base for 'the collaboration' to come.
Matter is proud to announce the 
