RC6
Wonderlab
Material Consequences Daniel Widrig, Soomeen Hahm, Stefan Bassing, Igor Pantic
Students Fayza Alshaalan, Sanchuth Choomsai Na, Zuokai Hu, Zixuan Huang, Hameda Jianahi, Minzi Jin, Huairui Jing, Mayank Khemka, Liyuan Ma, Noura Mhied, Huan Pu, Xiangyu Ren, Jia-Hao Syu, Qiaochu Wang, Aisha Wang, Haibo Xiao, Dun Yang, Jianfeng Yin, Lida Zhang
The Bartlett School of Architecture 2016
Project teams PinFill Zixuan Huang, Huairui Jing, Dun Yang Weaverine Fayza Alshaalan Ropology Jia-Hao Syu, Aisha Wang, Lida Zhang Brilock Mayank Khemka, Huan Pu, Xiangyu Ren, Jianfeng Yin CONEcrete Sanchuth Choomsai Na, Liyuan Ma, Qiaochu Wang, Haibo Xiao Flextiles Zuokai Hu, Hameda Jianahi, Minzi Jin, Noura Mhied
With systems such as 3D printers and robotics increasingly facilitating the fabrication of ever more complex structures and designs, new sets of questions, constraints and concerns emerge. While we are now able to rapidly materialise almost any given shape we are struggling with issues such as high cost of parts, limited material choice and large-scale applicability. In addition, fully automated fabrication systems often force designers into rather linear production pipelines with little room to manoeuvre or improvise. Since machining is expensive and timeconsuming the actual process of making is often delayed to the very end of the design phase, usually delivering highly predictable, pre-simulated results. In such workflows, notions of spontaneity, artistic intuition and noise are usually undesirable. In this context, Research Cluster 6 (RC6) continues to explore hybridised design and fabrication models, in which tactile interaction with materials and form initiates and drives all research efforts. Embracing messiness as opportunity and failure as part of the process, we are particularly interested in novel combinations of analogue and digital methods in which hands-on and computer controlled design and manufacturing operations not just co-exist but overlap. By continuing our research in such customised, semi-automated processes, RC6 engages in the evolution of a new, crafted aesthetic, one that reflects a shift from an architecture predominately interested in representation and tools towards an architecture that brings new notions of craftsmanship, intuition and a post-digital design sensibility into the game. Structure The year started off with an intense workshop encouraging students to individually explore various material systems and to design and build a collection of sculptural objects. Accompanied by digital classes geared to enable student to start using multiple design packages such as Maya, Processing and ZBrush, students formed teams and started to work collaboratively. RC6 traditionally works in multiple scales throughout the year. With a particular focus on physical production, students gradually increased the scale and scope of their work through iterations of prototyping. Terms 2 and 3 were dedicated to the development of a proposal in which material experimentation, applied prototyping, coding and modeling converged into a coherent architectural design proposal.
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