The Re-Imagining Wood Challenge: How can the natural attributes of wood commonly seen as disadvantages be re-imagined as assets to create novel, sustainable products?
Project Type: Public
Involute is a continuing research project that leverages the natural morphologies of
wood derived from internal material capacities and antistropic and hydroscopic
behaviors. The computational morphogenesis would be situated on the
interrelationships between wood as a natural material, manufacturing constraints, and
logics of assembly. Our localized approach to wood bending interlinked with a global
assembly system creates a 3D structural matrix of natural wood.
This continuing research focuses on the development of material research, morphogenetic computation, and emerging manufacturing methods. The result is a completely unique technological system of production, starting from generated geometry and ending with a process of manufacturing which utilizes a fixed bending iron bolted to the ground and 6-axis robot. Studying the material and the process of bending using a bending iron yielded specific procedures of generating a 3D framework of line, procedures for analyzingthe generating geometry and procedures for generating code to run the robotic operations.By generating a feedback loop with the information gathered from a network of lines into robotic operations. This opens the capability of manufacturing a variable component structural system without producing molds. We manufacture a variable component that starts from straight strips and morph into their bent form.
Bending guitar sides on a hot pipe is the most dramatic and challenging of all instrument-making techniques. All your senses come into play in the “dance” in front of the bending iron. The sweetest thing about hot iron bending is it allows us to get rid of molds, which limit the form and the varieties we can develop. Also, hot iron bending prepares us a lot of time to develop the form, while steam bending needs to configure the shape in several seconds.
Material morphogenesis is more than simply a material feedback loop in the design process, but suggests a material system that derives form. Contemporary fabrication tools are not simply about material system. “Natural morphogenesis” develops its complex form from the systematic interaction between internal material capacities and external environmental influences and forces.Inspired from this natural morphogenesis, we want to situate our “computational morphogenesis” on the complex interrelationships between material capacities, manufacturing constraints and logics of assembly, and external micro-climatic conditions.
The global geometry we imagine would be an installation which allows people to sit and rest on some parts. Other parts would be aesthetic, flowing in shape. One axis of the installation defines the flowing path, while the “ceiling” develops in the air, which also acts as a shading equipment. Ideally, the joint itself becomes a beautiful part of the global geometry and helps to support the whole structure.
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