MATSYS

Posts Tagged ‘Wall’

P_Wall (2013)


Date: 2013
Size: 6.1m x 3.6 x 0.3m
Materials: Fiber-Reinforced Thin-Shell Precast Concrete Panels mounted on Steel Frame
Tools: Rhino, Grasshopper, Kangaroo
Location: FRAC Centre, Orleans, France
Fabrication: Concreteworks, Oakland, California

Description:
P_Wall (2013), part of on-going research by Matsys into the use of flexible formwork (see earlier projects in the series here, here, here, and here), celebrates the self-organization of material under force. The form emerges through the interaction of the elastic fabric formwork and the liquid slurry of plaster. The designer has control over the locations of the constraints on the fabric which inform the overall form of each panel, but the specific curvature is determined solely by the system finding a state of equilibrium between mass and elasticity.

This iteration of the wall focused on three areas of innovation in reference to past iterations. First, this wall is the first to be constructed out of fiber-reinforced concrete rather than plaster. Rather than solid panels, each panel is only 2cm thick, vastly reducing the weight of each panel and allowing them to be much larger than previous installations. This process entailed the use of five original fabric-cast plaster patterns and subsequent rubber molds for the thin-shell concrete fabrication process.

Second, we were interested in exploring the boundary between modularity and repetition. At what point is something that is modular also repetitious? At what point does a pattern emerge that conflicts with a desired informal landscape? Using a tiling pattern of four panel sizes and five modules rotated in two directions, the pattern is never repeated across a total of thirty-four panels.

Third, using digital simulation models, a rough approximation of the wall was created virtually that allowed many more rounds of design iteration and testing in comparison with earlier projects in the series. Using a spring-network of meshes, the elastic fabric and the mass of the liquid plaster slurry could be modeled within an acceptable range of accuracy based on physical testing.


P_Wall (2013), by Matsys at the FRAC Centre, Orleans, France

P_Wall (2013), by Matsys at the FRAC Centre, Orleans, France

P_Wall (2013), by Matsys at the FRAC Centre, Orleans, France

IMG_9176P_Wall (2013), by Matsys at the FRAC Centre, Orleans, France_clean_1200

P_Wall Reinstalled @ SFMoMA

SFMoMA has reinstalled the P_Wall (2009) piece in their 5th Floor Gallery overlooking the Sculpture Garden. The wall is part of their “The More Things Change” exhibition focusing on the work of emerging artists over the last decade. The exhibition closes on November 6, 2011.

(Note: The amazing chair shown in the images is, unfortunately, not mine. The chair is by Dutch designers Tejo Remy & René Veenhuizen. The curators at SFMoMA did a great job pairing the wall and chair together.)

Zero/Fold Screen


Year: 2010
Size: 10′ x 10′ x 3′
Location: Kasian Gallery, University of Calgary, Canada

Description: Although digital fabrication has allowed architects and designers to explore more complex geometries, one of the byproducts has been a lack of attention to material waste. Often digitally fabricated projects are generated from a top-down logic with the parameters of typical material sheet sizes being subordinated to the end of the design process. This project attempts to reverse that logic by starting from the basic material dimensions and then generating a series of components that will minimize material waste during CNC cutting while still producing an undulating, light-filtering screen in the gallery.

P_Wall(2009)

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Wall-Elevation_web

Year: 2009
Location: San Francisco Museum of Modern Art
Size: 45′ x 12′ x 1.5′

Description: P_Wall (2009) was commissioned by the SFMOMA Architecture and Design Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall, part of a series started with P_Wall (2006), is an evolution of the earlier work exploring the self-organization of material under force. Using nylon fabric and wooden dowels as form-work, the weight of the liquid plaster slurry causes the fabric to sag, expand, and wrinkle.

From the exhibition text written by Henry Urbach:

Andrew Kudless’s P_Wall, commissioned by SFMOMA for this exhibition and its permanent collection, marks a radical reinvention of the gallery wall. Typically smooth, firm, regular and, by convention, “neutral,” the gallery wall has shed its secondary status to become a protagonist in the space it lines. Made of one hundred fifty cast plaster tiles — individually formed by pouring plaster over nylon stretched atop wooden dowels — the new wall possesses an unmistakable corporeal quality. Bulges and crevices; love handles and cleavage; folds, pockmarks, and creases: these are among the characteristics of human skin that come to the fore. Contemporary in its effort to capture dynamic forces in static form, P_Wall nonetheless has its origins in the experiments of earlier, 20th century architects including Antoní Gaudí and Miguel Fisác, both of whom investigated the potential of cast material to yield unique, sensual and, at times, bizarre shapes. P_Wall replaces the modern gallery wall with an unwieldy skin that can only approximate the fleshy enclosure that we, as human beings, inhabit throughout the course of our lives.

SFMoMA also produced a short video about the design and fabrication of the wall.

Credits: Andrew Kudless, Chad Carpenter, Dino Rossi, Dan Robb, Frances Lee, Dorothy Leigh Bell, Janiva Ellis, Ripon DeLeon, Ryan Chandler, Ben Golder, Colleen Paz

Weathering (P_Wall)

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Seed in the studio

Seed in the studio


Year: 2009
Location: Not in a gallery

Description: The process of weathering is often intentionally resisted (if not completely forgotten) in most contemporary design. This is a legacy of Modernism and its fascination with minimal, timeless, and antiseptic materials. David Leatherbarrow and Mohsen Mostafavi have done an excellent job of mining this ground through architectural history in their book On Weathering (1993). They reveal in this book a long tradition in the design world of working with the act of weathering in a way that enhances the design concept over time. Rather than design in a way that presents the Sisyphean task of negating the influence of time on a project, they document other strategies architects have taken to accept that their buildings will have a life of their own after the drawing board.

This concept has been hovering in the background during the evolution of P_Wall (2006 / 2009) over the last 3 years. When people see the wall, they seem to have an inherent desire to touch it. The hint of softness, the evocative forms, the fabric textures all draw people in, seducing them to feel its rounded curves and deep creases. After each time it has been exhibited, a certain patina can be seen on the pieces: fingerprints here and there, scuffs from handling, etc.

This projects explores the potential weathering of P_Wall. Beyond the simple marks of humans in a gallery environment, the wall is located outside, open to the elements. The undulating forms would collect dust, pollen, soot over time. Moss would take root in the subtle groves of the fabric texture. Birds and other creatures would make the holes their homes.

This is not an exercise in Romanticism. The goal is not to produce a picturesque image of the wall. Rather, there is something about the wall that craves to be touched, to be made unclean, to be used, worn, soiled. Throughout the fabrication of the tiles, spiders would constantly be found making the holes their traps. A fine layer of soot, plaster and saw dust seemed to be constantly attached to the forms. This project accepts these intrusions on the “pure” form and makes them apart of the design. No more resistance, P_Wall accepts the life of the world and changes with it.

SFMoMA June Update

Panels drying in the studio.

Panels drying in the studio.

Morning sun on the drying panels

Morning sun on the drying panels

The new hexagonal tile pattern.

The new hexagonal tile pattern.

A nice detail of the folding, twisting forms

A nice detail of the folding, twisting forms

Detail of a crease. Notice the surface texture left by the fabric form.

Detail of a crease. Notice the surface texture left by the fabric form.

Matsys was commissioned by SFMoMA to produce a wall installation for the upcoming exhibition Sensate: Bodies and Design. After many months of research and prototyping, production on the final wall began in early May and is nearly complete. At the moment, all of the panels have been cast and we are just waiting for them to fully dry. Check back soon for more images of the final installation.

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Year: 2008
Location: London

Description: Matsys was asked to submit quick sketch designs for temporary window installation in a London department store. Several windows were considered with potential designs for each. The design for the corner window explored self-organizing branching structures through the use of elastic cords and free nodes. The structure’s shape would be determined by the location of the upper and lower constraints and the self-organization of the individual members.

The side window builds off of the research in the R_Screen and Sky Rail projects. The bone-like wall opens and closes view into the store according to the direction of travel on the sidewalk.

C_Wall

View from outside the gallery door

View from outside the gallery door

C_Wall with shadows on floor

C_Wall with shadows on floor

The zigzag plan of the wall creates an increased structural stiffness

The zigzag plan of the wall creates an increased structural stiffness

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Dense pattern of shadows

Dense pattern of shadows

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Process diagram

Process diagram

Year: 2006
Location: Banvard Gallery, Knowlton School of Architecture, Ohio State University, Columbus, Ohio
Size: 12′ x 4′ x 8′

Description: This project is the latest development in an ongoing area of research into cellular aggregate structures that has examined honeycomb and voronoi geometries and their ability to produce interesting structural, thermal, and visual performances. The voronoi algorithm is used in a wide range of fields including satellite navigation, animal habitat mapping, and urban planning as it can easily adapt to local contingent conditions. Within our research, it is used as a tool to facilitate the translation and materialization of data from particle-simulations and other point-based data. Through this operation, points are transformed into volumetric cells which can be unfolded, CNC cut, and reassembled into larger aggregates.

Credits: Andrew Kudless and Ivan Vukcevich with Ryan Palider, Zak Snider, Austin Poe, Camie Vacha, Cassie Matthys, Christopher Friend, Nicholas Cesare, Anthony Rodriguez, Mark Wendell, Joel Burke, Brandon Hendrick, Chung-tzu Yeh, Doug Stechschultze, Gene Shevchenko, Kyu Chun, Nick Munoz, and Sabrina Sierawski, and Ronnie Parsons

Honeycomb Morphologies

Manifold Installation at the AA Projects Review 2004, Photo: Francis Ware

Manifold Installation at the AA Projects Review 2004, Photo: Francis Ware

Variable transparency of the wall

Variable transparency of the wall

Detail of Manifold

Detail of Manifold

Floor detail of Manifold Installation

Floor detail of Manifold Installation

Manifold Installation

Manifold Installation

Manifold Installation rendering

Manifold Installation rendering

Cut files for Manifold

Cut files for Manifold

Manifold Installation process

Manifold Installation process

Honeycomb prototypes

Honeycomb prototypes

Honeycomb Prototype detail

Honeycomb Prototype detail

Honeycomb Prototype exploring cell depth and curvature parametric link

Honeycomb Prototype exploring cell depth and curvature parametric link

Plaster form-finding model

Plaster form-finding model

Plaster form-finding model

Plaster form-finding model

Date: 2004
Location: London, UK
Description: This research was pursued as part of a MA dissertation in Emergent Technologies and Design at the Architectural Association. The central aim of the research is the development of a material system with a high degree of integration between its design and performance. This integration is inherent to natural material systems for they have been developed through evolutionary means which intricately tie together the form, growth, and behavior of the organism. In industrial material systems, the level of integration is far lower resulting in wide and potentially problematic gaps between its means of production, its geometric and material definition, and its environmental performance. This research explores integration strategies for a particular industrially produced material system for use in architectural applications.
This research develops a honeycomb system that is able to adapt to diverse performance requirements through the modulation of the system’s inherent geometric and material parameters while remaining within the limits of available production technologies. The Honeycomb Morphologies Project is based on the desire to form an integrated and generative design strategy using a biomimetic approach to architectural design and fabrication.
The system developed in this research presents an open framework through which the designer can work, enabling a more integral relationship between the various conflicting and overlapping issues in the development of an architectural project. The research represents a tool, waiting to be actively used with specific project data and embedded in a built artifact.
The Manifold installation was a large scale prototype constructed for the AA 2004 Projects Review. The installation explored the research developed in the Honeycomb Morphologies Project and extended it to a more architectural scale.
Credits: Andrew Kudless with help from Jayendra Sha, Nikolaos Stathopoulos, Giorgos Kailis, Matthew Johnson, Ranidia Lemon, Muchuan Xu, Grace Li, Scott Cahill, and Wongpat Suetrong.

White Noise

White Noise elevation

White Noise elvation

White Noise side view

White Noise side view

White Noise Detail

White Noise Detail

White Noise Detail: air bubbles create opacity and white color

White Noise Detail: air bubbles create opacity and white color


Year: 2003
Location: Bullseye Gallery, Portland, OR
Description: A collaboration between Bullseye Glass and Allied Works, this project explores ideas of modularity and flexibility while maximizing the glass’s material qualities through the most minimal means. The system consists of two glass panels: one straight, one curved. Each panel is kiln-formed from a even gradient of glass frit. The smallest frit creates more air bubbles as it is heated, causing the glass to become more opaque. Likewise, larger frit creates less air bubbles and a clearer glass. These panels are arranged and rearranged on site by the owner between two tracks. The ability to position each panel in multiple ways on the track allows for a system that is both flexible and minimal.

Credits: Andrew Kudless and Keith Alnwick (Co-Project Leads) while at Allied Works Architecture