Digital Fabrication Studio Pavilion

DIGITAL FABRICATION STUDIO
IOWA STATE UNIVERSITY
SPRING 2016
FABRICATING
POTENTIALS

As an interdisciplinary studio consisting
of sixteen students from architecture,
industrial design, and interior design
backgrounds,conductedoutreachthrough
experimental design and construction in
the public sphere. The challenge was to
create a temporary pavilion for the 80/35
Music Festival set to occur in early July in
Des Moines, Iowa. Work began in January
of 2016 and continued throughout the
spring semester. Students designed,
developed, prototyped, and constructed
a 10’x20’x15’ pavilion in studio and then
re-installed the pavilion at the 80/35
festival. The team explored the potentials
of digital prototyping, interaction, and
construction within their design process,
utilizing parametric modeling techniques
within digital platforms such as Rhino
and Grasshopper. The studio also utilized
communication within the digital realm to
better connect with classmates and peers.
The group chat program, Slack, was
thesite+theteam
Thank You to Our Sponsors
OPN Architects, Fieldstead & Company Endowment
for Community Enhancement, Stan G. Thurston
Professorship in Design Build, ISU College of Design, ISU
Department of Architecture, Des Moines Music Coalition
80/35 Music Festival
used to circulate messages throughout
studio, keeping members updated about
current budget and deliverables while
also allowing precedents and design work
to be shared and archived. In addition, a
blog, Instagram, and Issuu account were
set up to engage peers and the general
public. Progress updates and new design
schemes were frequently shared though
theseplatforms.Allofthesemethodswere
parts of the studio’s goal to experiment
with methods of material practice and
construction by implementing traditional
as well as innovative computational
techniques. Through the process of
designing a temporary public pavilion the
studio gained a greater understanding
of architecture’s relationship with
technology and human interaction. The
studio is part of a larger effort to position
the Department of Architecture at Iowa
State University as a leader in digital
computation and fabrication methods.

RESEARCH|06 34|DEVELOPMENT
CONSTRUCTION|60 98|PAVILION
CONTENTS

FABRICATING POTENTIALS 07theresearch
Our sixteen person, interdisciplinary
studio began to identify the issues faced
in the creation of a construction-sensitive
temporary pavilion during an initial phase
of research and analysis. Exploration
into experimental temporary pavilions
and constructions began with a study of
MoMA’s PS1 competition submissions.
Examplesofinnovativepublicengagement
strategies, construction techniques, and
reuse strategies created a base knowledge
which we could draw from throughout
the design process. Questions about
the purpose and impact of temporary
structures were explored through the
studio book, Pavilions, Pop-Ups, and
Parasols by Leon Van Schaik & Fleur
Watson. Goals for innovation in digital
design, public engagement, and plausible
reuse strategies were formulated and
began to emerge during this stage.
Additional research began to push into
the realms of digital design and interactive
technologies. First hand experience of
festival culture and temporary public
space was achieved through a trip to
New Orleans and the Hogs for the Cause
festival.
FABRICATING
RESEARCH
POTENTIALS

FABRICATING POTENTIALS 09
MoMA PS1
From Dunescape to COSMO, MoMA’s PS1 Pavilions have promoted innovation
in the way architects design and construct temporary public spaces.
The Museum of Modern Art and MoMA
PS1 jointly present the MoMA PS1 Young
ArchitectsProgram(YAP),anannualseries
of competitions that gives emerging
architects the opportunity to build
projectsconceivedforMoMAPS1’sfacility
in Long Island City, Queens. Established
in 2000, the Young Architects Program
was designed to solidify the affiliation
between The Museum of Modern Art
and MoMA PS1. Glenn Lowry, Director
of The Museum of Modern Art stated,
“[MoMA PS1] furthers our curatorial
mission, identifying and providing an
outlet for emerging young talent, it aims
to give something back to the community
that has been so supportive of us.” The
objective of the project is to provide
visitors with an outdoor recreational area
for the summer-a much-needed refuge in
an urban environment-making the best
use of the pre-existing space.
The architects follow a program with a
tight budget, and are involved in every
aspect of the design, development, and
construction of the project. The site,
MoMA PS1’s large triangular entrance
courtyard and outdoor sculpture area, is
an integral part of the museum’s popular
music concert series, Warm Up, which
features experimental music, live bands,
and DJs. The site is open to visitors
throughout the summer.
To choose an architect for this project,
deans of architecture schools and the
editors of architecture publications
nominate some twenty students, recent
architectural school graduates, and
established architects experimenting
with new styles or techniques. The group
is asked to submit portfolios of their
work for review by a panel comprised
of Mr. Lowry, MoMA PS1 Director Klaus
Biesenbach, and a host of experts in the
art and architecture community. The
panel selects three finalists who are
invited to make preliminary proposals for
the designated site; the chosen winner is
announced in February.
citation|momaps1.org

2015 COSMO by Andres Jaque/ Office for Political
Innovation 2014 Hy-Fi by The Living 2013 Party
Wall by CODA 2012 Wendy by HWKN 2011 Holding
Pattern by Interboro Partners 2010 Pole Dance
by Solid Objectives-Idenburg Liu 2009 afterparty
by MOS 2008 P.F.1. (Public Farm One) by WORK
Architecture Company 2007 Liquid Sky by Ball-
Nogues 2006 BEATFUSE! by OBRA 2005 SUR by
Xefirotarch 2004 Canopy by nARCHITECTS 2003
Light-Wing by Tom Wiscombe of EMERGENT 2002
Urban Beach by William E. Massie 2001 subWAVE
by ROY 2000 Dunescape by SHoP 1999 Philip
Johnson
dunescape|2000

FABRICATING POTENTIALS 1312 IOWA STATE UNIVERSITY
Dunescape
by SHoP Architects
(2000)
SHoP Architects created an installation that is
dynamic in both appearance and functionality.
Dunescape as a precedent enables a greater
understanding of how having a clear purpose
behind the form of a structure enables
comprehensive design. The purpose is directly
aimed at benefiting those who use the space.
By designing a pavilion that takes more than one
purpose into consideration (ie. comfort, social
aspects, shading, etc.), the overall product is
more likely to be a success. The fact that each
component of the structure is modelled and
catalogued digitally is also pertinent to our studio.
By understanding the purpose that we intend for
our pavilion, we are likely to create a design that
excels in both appearance and functionality.
Wendy exemplifies everything that can come from
testing the boundaries of architectural design. As
a firm that strives to continuously push the limits
of architecture, the firm helps set forth ideals
about how testing the limits already set forth in
the discipline can result in proactive means of
thinking about architectural forms and space.
Wendy shows us that having a radical set of ideals
can push the design process forward and allow for
a comprehensive design solution that takes into
account social and contextual conditions as well as
public engagement and influence on a space. The
use of a gridded construction pattern to create a
complex form, as well as the integration of lighting
and digital interaction are ideas that we can
reference in the development of our own pavilion.
Wendy by HWKN
(2012)

partywall|2013

Party Wall by CODA
(2013)
The strongest elements of this design involved
the recycling of a common material and the way
in which the installation engaged with the site.
CODA was able to connect the project to a specific
location and give it a strong identity. There were
multiple elements that engaged the public and
the surrounding space. Unique environments
and experiences were created through a one wall
system. The structural framework of the wall, in
which panels of a certain material were attached,
couldbesomethingthatwetakeintoconsideration
as well as the modularity of the system which
allowed for ease of construction and transport.
Creating a single surface and utilizing voids in the
form to add areas of discovery and interaction fit
our interests moving forward.
COSMO’s suspended canopy purifies water and
then utilizes it to grow various plants as well as to
cool down pedestrians walking by the structure.
These plants as well as smaller components of the
filtrationsystemcanthenbedistributedthroughout
the community as a reminder of COSMO’s function
while increasing knowledge about water scarcity
and the purification process. Our pavilion may
become a de-constructable module which can be
distributed after the festival to act as a memento
or possibly serve a didactic purpose. Concepts
proposed such as COS community outreach and
beautification are applicable to our pavilion.
COSMO
by Andres Jaque / Office
for Political Innovation
(2016)

Key questions derived from
Pavilions, Pop-Ups, and Parasols
by Leon Van Schaik & Fleur Watson
POP-UP+PAVILION
Should pavilions predetermine their use or should they afford flexibility for a user?
Does a pavilion need a function, a specific aesthetic, or market?
What is the contemporary role of a pop-up?
Are pop-ups enabling innovation in architecture or are they parasitical structures?
How might virtual spaces be made more tangible as spatial environments for exchange?
What are ways in which we can derive a meaningful form (construction innovation, site context, etc)?
Can short term pavilion designs trigger long term social change?

Pavilions,Pop-Ups,andParasols

DIGITAL TECHNOLOGY
Exploring the potentials of interactive, technology-based design such as
kinetic structures, projection mapping, and LED lighting.
kineticwall|2014

Kinetic Wall by Barkow & Leibinger (2014)
Designed for the Elements of Architecture exhibition at Rem Koolhaas’s 2014 Venice Biennale, this project explores
the idea of kinetic motion in architecture. A simple wooden space frame houses the mechanical equipment that
powers the actuators and acts as a mounting surface for the elastic synthetic fabric. The actuators are mounted to
the surface of the fabric & distort the elastic surface to change the spatial condition of the site in which the wall is
placed.
Kinetic Structures
Sydney Opera House (2012)
Projection mapping technology is the use of motion graphics to create an exterior or interior condition that appears
to come alive with animated forms, transforming any built surface into a dynamic construction. Projections are often
mapped to fit the geometry of a building or other construction. All you need are a series of (or just one) projectors
and a surface on which to project and any of a wide variety of digital programs to create the mapping. The images
below show a series of projections onto the Sydney Opera House as part of a yearly art initiative.
Projection Mapping

Sonia Falcone Lighting Installation (2010)
Falcone created a series of video animations which began only when a person stepped near enough to the array of
flat-faced columns.
Interactive Lighting + LED Fields
Textile Pavilion by P-A-T-T-E-R-N-S (2014)
The appearance of an ever-changing textile fabric was achieved in the Textile Pavilion by the designer through an
intricate projection mapping onto translucent carbon tubing stretched between steel frames.

Water Light Graffiti by Antonin Fourneau (2012)
Water Light Graffiti is an interactive surface composed of thousands of LEDs which are able to be illuminated by
the contact of water (water produces an electrical charge which briefly lights the led). A user is able to change the
surface with a wet paintbrush, a water atomizer, spray can, or even their fingers.
Swarm Light by Random International (2010)
Swarm Light consists of a programmable field of LED lights which are activated by both motion and audio sensors.
In addition, the LED field can be choreographed based on the intent of the designer.

TRAVEL
Experiencing festival culture in New Orleans, specifically through attending
the Hogs for the Cause event, helped add to our knowledge of public events
and engagement.
citypark,neworleans

Hogs for the Cause
Hogs for the Cause is a non-profit, annual
fundraising barbecue competition and music
festival that raises money for families with children
fighting pediatric brain cancer. The event raises
money through ticket sales, direct donations,
food sales, sponsorships, and fundraising
efforts spearheaded by teams in the barbecue
competition.
As part of our studio, we were provided with full
passes to each of the two days of the festival.
Unfortunately, the first day of the festival was
cancelled due to flooding at the festival grounds
at City Park. Luckily, we more than made up
for the missed time on Saturday, as we trekked
through the sometimes knee deep mud to enjoy
the excellent barbeque and bluegrass bands.
Everyone went home with a newfound knowledge
of publicly engaging temporary structures, as well
as a fair bit of sunburn!
Every year, around 90 teams compete in the
Ben Sarrat, Jr. Cook Off for the High on the Hog
Grand Champion title. The competition is fierce,
and the winners claim bragging rights not only
in barbecue mastery, but more importantly,
fundraising prowess. Teams are a motley mix
of some of the region’s best chefs, professional
barbecue teams from around the country, and
backyard barbecue fanatics, and all teams sell
food to the public to raise money for the Cause.
Winners are declared in seven categories: Whole
Hog, Ribs, Pork Butt/Shoulder, Porkpourri, Sauce,
Fan Favorite, and Fundraising Champion. Many of
the teams also design and build custom structures
or have interactive elements around their displays
to attract and engage customers. Studying the
interaction between people and vendors (and
their accompanying structures) added a practical
element to our knowledge of temporary structures
gained throughout the semester.
BBQ + Public Engagement

FABRICATING POTENTIALS 35initialproposals
In conjunction with the initial phase
of research, the process of designing
an interactive pavilion for the 80/35
Festival began with a series of massing
studies. Through these studies, the
interdisciplinary team attempted to
understand restraints dictated by the
project such as scale, scope, and means
of construction. A repetitive sequence of
iteration,review,andrefinementfollowed,
with students concurrently expanding
their knowledge of digital interaction
technologies. Design proposals became
increasingly rigorous as teams began to
utilize digital tools to understand material
usage, predict construction time, and
calculate budget. As the development
phase progressed, major design
themes relating to transportation and
constructibility began to emerge. The use
of a modular structural system to organize
and ultimately optimize construction
was agreed upon, as was the desire to
integrate some form of digital interaction.
The efforts put forth by the studio
throughout this process allowed the team
to further understand the connection
between physical and digital fabrications
and coincided with Iowa State University’s
Department of Architecture’s goal of
becoming a leader in digital computation
and fabrication methods.
FABRICATING
DEVELOPMENT
POTENTIALS

10’x 20’Initial design responses for fitting within the bounds of the site
were proposed through a series of 1/4” scale models focused on
demonstrating scale, form, and constructibility.

REPETITIVE PANELS An open plan can
accommodatevariousprogramsandinstallations.
DUAL WALLS Walls are composed of panels
that could move or rotate. SINGLE SURFACE A
continuous form provides seating, shade, and
interaction. ARROW As you move between layers
theformrevealsitself.HOUSEOFWALLSApassage
that reveals and than conceals. WOOD LEGS The
pavilion focuses on the idea of modularity and
assembly. FRAGMENTS Space is created using
a series of vertical elements. WIND CHIMES
Extrusions in the form could become interactive
components. LANDSCAPES A series of steps for
sitting, relaxing and other human interactions.
CENTRALPIVOTSeating could bestoredwithinthe
structure. EXPOSED COPPER At each angle the
model appears different. WAVES Light becomes
distorted and casts interesting shadows below.
MIRRORED FORMS The design can combine a set
of repeated forms. FOLDED SIMPLICITY A single
form folds itself inward to shape an enclosed
space. MESH A wall provides shade and acts as a
barrier. HELIX Geometric shapes are arranged to
create dynamic movement.

TECHNOLOGY +
DIGITAL INTERACTION
The studio’s overall desire is to create
a pavilion that bridges the physical and
digital divide through interaction. All in
order to create an atmosphere of fun,
relaxation, interaction, and play. The
pavilion is intended to provide a digital
node for interaction within the context
of the festival, creating a safe, fun, and
memorable area at which people will
associate their experience of 80/35.
Initial considerations of the physical
interaction that could occur between
the user and the space included mobile
panel systems and versatile seating.
These two means of physical interaction
would allow the user to define the space.
Whether they needed a place to sit, a
place to set down their drink, or a means
of shading, the mobile panels would
allow for individualized levels of comfort
throughout the length of the festival.
Multiple design strategies for utilizing
digital interaction were proposed to
add an interactive element to the
pavilion. Lighting became of interest
in several proposals in which the user
directly interacts and affects the lighting
conditions both within and outside of the
pavilion. As the user moves through the
space, various lighting conditions could
occur to transform the pavilion from a
stationary structure to something that
highlights the dynamic characteristics
of the festival. With the 80/35 festival
being such a highly sensory atmosphere,
a digitally controlled set of interactions
would allow the pavilion to resonate with
users and fit the context of the concert.
In addition, the majority of the festival will
be held during the evening, thus lighting
and projection became a focus moving
forward.
Digital implications of the pavilion were
further investigated through means of
broadcasting and social media.
connectingdigtal&physical

technologyworkflow
SENSING
HARDWARE
SOFTWARE CONTROLLER
anemometer motion
thermo sound
projection motion
sound light

motionresponsivestructures
mobilepanelsystemsinteractivelighting+branding
projectionsurfaces

PRAGMATICS
New proposals were developed after learning more about the site,
resources available, budget, and interactive technologies.
wood+rope

Wood + Rope
This design proposal focuses itself around user
interaction. Utilizing an unconventional material
like rope, the pavilion is formed of blocks that
begin to filter the exterior environment instead
of blocking it out all together. The blocks change
in their orientation to add dimension to the space
and are sized so as to fit to the human scale whilst
sitting, standing, and interacting. This creates a
pavilion that can be formed by the people as they
are able to manipulate the composition of the
pavilion itself. On the street side of the pavilion
is a collective surface comprised of individual
pieces of rope. These ropes create a unique
shading structure and are monitored by motion
sensors which are triggered by movement. The
manipulation of the rope creates an interactive
lighting display within the modular structure of the
pavilion. This creates an instrument of light out of
the pavilion in which people can engage with.
This pavilion is reactionary and not static. It
provides transformable space to meet the needs
of multiple users at different times. This space
provides small gathering spaces within a larger
pavilion. The pavilion itself is shaped and modified
through the people who experience it. The light
wall on the solid surface responds directly to
the movement of people through the space and
the sections of the pavilion can be moved to fit
the needs of the users at the festival and Iowa
State’s campus. This pavilion has both a physical
and a digital interaction. The light wall shows
advancements in technology while each module
gives the users the freedom to adjust the space to
meet their needs.
Ephemeral Architecture

Light Field’s form is a meant as a reference to
the repetition of Iowa’s many cornfields. The
design is formed with clear PVC tubes secured to
a base plate in a vertical position, with the base
plate acting as a cover for all electronics as well
as a platform to sit or stand on. The ends of the
tubes could also be used to level out the pavilion
if the installation site is uneven. The vertical tubes
divide the pavilion into a range public and private
spaces, and would be illuminated from below at
night, ideally being controlled by an audio sensor
to respond to the live sounds of the surrounding
concert. The platform would act as a dance floor
and increase interaction among concert-goers.
The patterning at the top of each row of PVC pipes
could be cut to the profile of the numbers 80 & 35
to act as a welcome and gathering piece as well.
Light Field
Cloud
The CLOUD concept uses pneumatically inflated
surface that acts as a canopy in the daylight, and
usescomputer-controlledlightingatnighttocreate
theillusionofafloatingcloud.Largeballoonswould
be controlled by user interaction via a mechanical
wheelmountedtoeachcolumn.Seatingiswrapped
around the base of each column and could double
as weighted supports for the base. The act of
raising the core of the pavilion overhead allows
the usable area at ground level to be maximized,
and uses LEDs and projection mapping to turn the
surface of the Cloud into a beacon for the entire
festival. This concept explores the idea of using
the pavilion as a broadcasting device, wherein
the human activity under the canopy is visible to
people inside the gates of the concert. Tracking
and interpreting movement inside of the pavilion
offers the opportunity to generate lighting effects
in real time and to live stream media.

MODULARSYSTEMS
Multiple proposals began to feature modules; implemented
to solve the problems brought aboutby the buildconstraints
and transportability inherent to the project.
“Cubic modules can be used as a scaffold to create a complex surface”
“Multiple squares can be attached to each other to create connectible modules”
“The entire system can be built out of a series of similar shaped modules varying in scale”
“The modules can be built into flat stacks and transported to the festival”
“Stacks of modules can be connected together and rotated into the desired shape”

To fit the context of the music festival and appeal to concert-goers,
strategies for digital interaction and social media were proposed
within the context of modular systems.
ATMOSPHERIC
INTEGRATION
cloudcanopy

#cloud canopy
The cloud canopy acts as an overarching billboard, providing a landmark within the 80/35 festival grounds. The
canopy would be built with cubic modules, each containing a programmable LED inside. The modules would form
a cloud of lights above a user’s head, attracting people to the area and facilitating interaction. Projection mapping
could be used to display a user’s photos above the crowds gathered below.
#pop|pod
The one, three and five person PODs offer seclusion from the surrounding environment. Open stools placed
outside of the PODs also allow for quick stop and go for relaxation. When entering each POD, a unique interaction
occurs. When vacant, the POD is dark (dead), but as soon as someone steps inside, the structure instantly lights up,
establishing occupancy. The lights will pulse, thereby bringing the PODs to life.

#mixmaster
#light arboretum
This pavilion emulates nature’s layers through a minimalistic and modern approach. A system of modules was
designed to form the entirety of the pavilion. The Light Arboretum offers shading and seating during the day, creating
a retreat for the public from the sun and heat. At night the canopy transforms into a light sculpture that changes in
colors. The lighting effect matches the vibrant atmosphere of the 80/35 festival.
Mixmaster acts as an interactive node within the 80/35 festival offering a range of seating options and social
interactions. The design is formed from a similar square module which can be built into stacks and transported in
flat sections. The stacks can then be combined together on site to make the final form, which is an abstraction of
the intersection of highways 80 and 35 which the festival is named after.

CONNECTIONS
After deciding on a cubic-shaped module, variations of potential construction
techniques were developed and prototyped.
slidingcornerjoint

soliddovetailcorner

FABRICATING POTENTIALS 65prototyping&construction
FABRICATING
CONSTRUCTION
POTENTIALS
Taking into account the logistical issues
involved in designing, transporting, and
building a temporary pavilion in Des
Moines for the 80/35 summer music
festival, the interdisciplinary project team
decided upon the creation of a cubic-
shaped modular system to organize and
simplify the fabrication and construction
processes. Proposals inclusive of form,
fabrication, material, assembly, and cost
were introduced and modified in an
attempttorespondtotheuniquedemands
of the project. Modular connection types
using multiple hardware and material
typologies were prototyped along with
studies of potential panelization systems.
The integration of interactive platforms
such as LED lighting and projection
mapping continued to be a consideration
as well. Much of the design work was
accomplished through repetitive digital
iterations which informed refined physical
prototypes, consistent with Iowa State
University’s Department of Architecture’s
goal of becoming a leader in digital
computation and fabrication methods.

The process of applying appropriate materials and interactive installations
into the modular system was tested and optimized.
STRUCTURE
INTERACTION
PANELIZATION
tyvek
mirror
plywood
wiring
projector
LED strip
plywood panels
bolts & washers
turnbuckle cable
COMPONENTS +
PROCESSING

1/2” Plywood
To fit the bed of our CNC machine, each of
the 130 4’x8’ sheets of plywood needed
to be cut down into 2’x3’ sections. 1/2”
pine plywood was chosen after consulting
budget and time requirements. In the
meantime, using Grasshopper and
Rhino, the unique shape of each box was
prepared and labelled for cutting and
construction. Each box was labelled so
its specific location within the pavilion’s
structure would be noted. The boxes
were also designed with tabs in each
corner, enabling each side of the box to
be formed to the correct angle. After
cutting down the sheets to the correct
size, digital files consisting of cutting paths
for each individual box were sent to the
CNC machine, and the resulting pieces
were then ready to be assembled. Boxes
were assembled using wood glue and a
brad nailer.
Hardware
To connect each module into stacks and
eventually rows, approximately 2,500
5/16” bolts, washers, and hex nuts were
bought to secure each connection.
These bolted connections were used
to secure the structure in both vertical
and horizontal directions. In addition,
levelling feet were added at the bottom
of the structure to account for the small
slope on the site. These feet also create
a 4” reveal at the base and prevent the
boxes from sitting on the pavement, and
potentially, in water.
Structure
modulefabrication

LEDs
The specific LED product used within our
pavilion is called Neopixels. This product
was chosen due to its price and its ability
to be purchased in bulk. The LED system
consists of a total of 2,448 bulbs split into
groups of four placed within the center of
each module. With 11 vertical rows to the
pavilion, this meant that strips of 48 LEDs
(12 groups of 4) were required to fill each
module. In order to have a consistent
feed of power and not overload a single
power source, the LEDs were grouped
together as a trio of stands allowing
them to receive a constant feed from a
10amp 5volt power sources. In order to
connect the power to this power supply,
we have to feed power and ground wires
into a DC power adapter. This adapter is
specifically designed to connect into the
power supply while allowing a female
opening for the LED wiring. Inlayed
within this power supply, an electrolytic
capacitor controls any unwanted spiking
in voltage by keeping a constant buffer
from the feed. In addition, the entire LED
system is able to connect to a data source,
allowing each LED or group of LEDs to be
programmed accordingly. Codes were
developed to allow the LEDs to react to
sound or motion, creating a platform for
digital interaction with users. At night,
the entire structure comes alive with the
reactive LEDs, being triggered by user’s
interactions and the sound of the concert.
The final form resembles an amorphous
grid made up of large pixels, each lit from
behind a Tyvek panel to create a soft,
diffused lighting quality.
LEDhardware
Interaction

Projection Mapping
Interaction with festival-goers is a
cornerstone of the pavilion’s purpose,
and our projection wall does just that by
reflecting visitors dance moves on a larger
than life screen that also reacts to sound.
This is done with audio reactive computer
software and projection mapping. For
Broadcast 8035, we employed an Apple
Macbook Pro and Vidvox’s VDMX 5 video
mixing software to accomplish both the
mapping and sound reactivity in one
package.
Projection mapping software enables
a user to adjust a projected image to fit
the object it’s being projected on. It’s a
more advanced version of the keystone
adjustment found on many retail
projectors. When you set a projector
on a table, it sits at an angle up to 10°
above horizontal, making the image
being projected on a vertical surface a
skewed trapezoid shape. The automatic
keystone adjustment uses an optical
sensor to determine the amount of skew,
and then adjusts, or projection maps, the
image accordingly.-The projection wall of
Broadcast 8035 is a complex compound
curve, and the image being projected
will be mapped to follow the shape of
the pavilion. Using VDMX5, we are able
to warp the output image to match the
contours of the projection wall. This
results in an on-screen image with very
little distortion.
projectionprototypes
Video Mixing
VDMX5 is an advanced video mixing
software similar to programs that many
DJs use, but the input media is visual
rather than audio. VDMX5 allows a
user to mix and overlay images, videos
and text on one screen. In addition to
video, VDMX5 also allows us to create
generative graphics using programming
languages such as Independent Shader
Format (ISF) and Quartz Composer (QC).
Generative graphics are small programs
that move, grow and change color either
automatically, or with input. An example
of generative graphics are the colorful
moving screen-savers found on many
computers, while Windows Media Player’s
music visualization feature demonstrates
graphics which are affected by input.
For the 8035 festival, we will have four
layers of visuals running simultaneously,
with each layer affecting the next. The
backgroundandforegroundlayerswillplay
videos and generative graphics. A middle
layer will take input from a Microsoft
Kinect depth camera and display it as an
abstracted silhouette. The final layer will
display text, including special messages to
the audience.
VDMX5 also offers advanced audio
analysis filters that will give us quantified
values based on certain frequency levels
in real time. We can use those values
to manipulate the graphics and effects
being displayed on screen. On the fly
adjustment can be done with the iPhone
TouchOSC app. TouchOSC allows users to
create custom MIDI controllers as input
devices for programs on their computers.
With TouchOSC we can cue the next
scene, adjust the output brightness or
change the sound responsiveness for all
seven audio filters individually.

Tyvek
Tyvek brand protective material is a tough,
durable, spun-bonded olefin sheet. The
material is more robust than paper and
more cost-effective and versatile than
fabrics. Tyvek has a higher strength-
to-weight ratio than leading paper
products, absorbs little or no moisture,
is strong and rip-resistant, and is made
of environmentally responsible material.
Both bright white and silky smooth,
Tyvek has a distinctive look and feel that
enhances graphic images and instantly
sets it apart from all other materials. The
material is therefore advantageous to
project onto, and additionally, it creates
a soft, diffused lighting condition when
backlit by LEDs. The product should also
be able to withstand the rigors of the
music festival.
Mirrored Acrylic
The use of mirrored acrylic creates an
intimate experience within the hallways
of our pavilion. The acrylic mirrored
panels are half the weight of glass, 8 times
stronger, and shatter-proof. Additionally,
the panels are UV stabilize and have a
working temperature range of -40°F to
180°F. The panels are cut down to follow
the gridded pattern of the pavilion’s
envelope and fit flush along the interior
sides of one of the hallway corridors. The
mirrored walls encapsulate the entirety of
the pavilion’s inner corridor and stretch
vertically through the top, creating a
seamless visual connection between the
structure and the sky. Working within the
limitations of a confined footprint, the
mirrored surfaces provide dynamism and
life to the inner spaces, giving our pavilion
a unique multidimensionality.
Panelization
tyvek+mirrors

CATALOG+LABEL
Asystemforlabelingcomponentsthroughoutthe559unique
modules was developed in Grasshopper to help coordinate
the installation between structural modules, paneling, and
LEDs.
Connect tabs 0 and 3 to side piece 3 and tabs 1 and 2 to side piece 1 STEP 1
Connect tabs 0 and 1 to bottom piece 0 STEP 2
Connect tabs 2 and 3 to top piece 2 STEP 3
Brad nail all connections STEP 4
Add Tyvek face using glue STEP 5
Install vertical support bar and LED strips STEP 5
MODULE ASSEMBLY
0
1
1
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0
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0
0
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0 1 2 3
0
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1
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45
6
MODULE ASSEMBLY
0
1
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0
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0 1 2 3
0
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4 5
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45
6

R 11
R 10
R 9
R 8
R 7
R 6
R 5
R 4
R 3
R 2
R 1
R 0
C13
C0
C1
C2
C3
C4
C5
C6
C7
C8
C9
C10
C11
C12
C13
C14
C18
C17
C15
C16
C19
C20
C21
C22
C23
C24
C25
C26
C27
C28C29
C30
C31
C32
C33
C34
C35C36
C37
C38
C39
C40
C41C42
C43
C44
C45
C46
C47
C48
C49
C50
C51 C52 C53 C54
fulllabelingsystem

Machinery such as a CNC, vinyl cutter, and soldering irons were
informed through digital files to produce and organize different
facets of the pavilion.
FABRICATION
TECHNIQUES
CAMasterStinger1CNC

CNC
The Stinger I CNC Router is a robust bench top
machine.Builtwiththesame principlesasprevious
versions, the Stinger I is a tool that is budget and
size friendly, but is still rigid and flexible enough
to be implemented in an intensive production
environment. The machine was required to run
24/7 for three weeks straight in order to complete
the pavilion, and it lived up to its billing. The
Stinger I is constructed on a welded steel frame,
giving it a rigid and robust, yet smooth movement.
The machine is built and tested completely in
Cartersville, Georgia.
The machine came with a control PC that was
preloaded with WinCNC (which controls the CNC)
and was tested with the machine before shipping.
The Stinger also comes with Vectric’s CUT 2D
design software, consolidating all of the software
needed to set up and run the machine.
The process of translating the main structural
components of the pavilion from digital to physical
began by exporting tool-paths for the CNC from
the base Grasshopper definition. Files were
labeled by their specific row and column number,
with each box being assigned a spot within the
55 (numbered 0-54) vertical stacks and 12 (0-11)
horizontalrows. Eachboxconsistedofeightunique
pieces including the top, bottom, and sides, as well
as tabs between each corner connection, allowing
each box to be built at the correct angle. Exterior
faces of each box were labeled 0-3, as were the
interior tabs. The labeling system guaranteed
that each component was installed in the correct
place, and the boxes formed at the correct angles.
Additionally, holes and slots for electronics, bolts,
and the tabs were included within the tool-path
for each exterior face. Each box fit onto two 2’x3’
sheets of plywood, with all of the interior tabs
along with the bottom and side pieces fitting on
one sheet.
Digital Process

LEDcoding+powertest
84 IOWA STATE UNIVERSITY FABRICATING POTENTIALS 85

Soldering
In order to fit between the custom length of each
unique module in the structure, the store-bought
LED strips had to be spliced together between each
forth bulb, which allowed each group to be centered
within a module. Since the total amount of bulbs
within the system was set at 2,448 based on the
desired illuminance of each module, this meant that
612 splices needed to occur. In order to reconnect
each group after the splice, the power, ground, and
data feeds were soldered back together, restoring
power and an uninterrupted data feed to the system.
Finally, three sets of twelve four LED groups were
connected to power packs and data feeds, allowing
us to power and program every module within the
pavilion. In this way, each module serves as a pixel
within the entire installation. Within each module,
we attached the four LED group strips with zip ties to
a 2” vertical post. This post easily assembles as part
of each model due to a pre routed CNC cutting path
routed into each box.
The matrix of LEDs is powered by a mixture of open
source software and hardware. The process starts on
a laptop where ambient sound around the pavilion
is input via microphone. The code generates real
time graphics in response to the audio, mapping
them onto the LED matrix. Next, color data is sent
wirelessly to a Raspberry Pi computer and then
split across the seven Fadecandy microcontollers
that interface with the LED strips in each column of
the pavilion. Fadecandy is a tiny microchip that is
designed specifically to take standard LED color data
and apply a dithering algorithm before sending it to
the array. This is important because the raw color
data may be extremely sharp in response to a loud
festival environment, but the Fadecandy ensures
that all of the lighting effects are smooth. The LED
matrix is powered by fifteen separate power supplies
that each handle around three columns of the
boxes inside the pavilion. Breaking the power into
segments makes setting up and tearing down the
structure more efficient and prevents the possibility
of a voltage spike.
Coding + Data Transfer

Vinyl Cutter
VinylMaster Cut is a machine that provides precise
contour cutting for both LAPOS (Laser Positioning
Sensor)ormanualcontourcutting.Contourcutting
is perfected with VinylMaster Cut for applications
like stickers, custom labels, or unique geometry.
The software that VinylMaster Cut provides gives
you diagrams to preview and modify before
completing your contour cuts. This preview can
assist with loading digital files into your cutter
correctly. VinylMaster Cut has advanced controls,
providing sensitivity, speed, and directional
control over the cutter. These features ensure
that the cutter can be optimized to cut a variety of
products such as matte, gloss, laminated, or even
reflective material.
The process for creating paneling for the pavilion
starts within Rhino, where each panel surface was
able to be flattened using a Rhino script. From this
script, the panels were exported as DXF files to
Adobe Illustrator. From Illustrator, the files were
touched up, ensuring that all lines transferred
properly from Rhino to Illustrator. Those Illustrator
files were then brought into the VinylMaster
Cut V4.0, the main program that comes with
each Vinyl Cutter. This program takes files from
Illustrator and converts them into a file type that
is directly sent to the Vinyl Cutter. To ensure the
correct orientation of the panels, the script put
an uppercase T in the top right hand corner. This
allows anyone to know the direction of which
the panel needs to be installed on the assembled
plywood boxes. Further markings with the row and
column number were put on each panel. During
fabrication, the assembler is then able to know
which Tyvek panel goes to which plywood box.
Digital Process

The structure ascended upwards in rows as boxes were cut,
assembled, panelized, and installed.
CONSTRUCTION
PROCESS
LEDchain

boxassembly

FABRICATING POTENTIALS 99thepavilion
FABRICATING
PAVILION
POTENTIALS
In accordance with the studio’s goal of
experimentation within the realms of
digital design and fabrication, the final
form of the pavilion was completed
entirely within Grasshopper, allowing
pieces of the structure to be produced
digitally and fabricated with the CNC. The
amorphous shape emerged as a result of
digital form optimization after consulting
an initial set of structural concerns,
environmental factors, experiential
sections, and practical uses. In addition,
the sixteen person team decided to add
to the atmosphere of the music festival by
creatinganinteractive soundandsituation
responsive lighting installation. LED strips
were customized to fit within the modular
structure, creating the effect of a freeform
array of individual pixels. Projection
mapping added another element to the
digital interactivity of the design. The
pavilion is meant to provide a node for
digital interaction and engagement within
the festival grounds, allowing studio
members to gain a better understanding
of architecture’s relationship with
technology and human interaction. The
efforts throughout the semester are
consistent with Iowa State University’s
Department of Architecture’s goal of
becoming a leader in digital computation
and fabrication methods.

The pavilion’s unique form was defined by experimental sections
and optimized digitally to be freestanding and free of any
complex geometry or double-curved surfaces.
FORM FINDING
DISCOVER
INTERACT
MINGLE
PLAY
RELAX
YOGA

The initial form was derived from a series
of lofted sections which acknowledged
different scales and types of interaction.
In plan, a serpentine curve was developed
and offset in a way that allowed for self-
stabilization.
These lofted section curves were
then constrained at their boundary,
and the resulting edges were used as
the parametric controls. Parametric
implementation is often lauded as a
highly collaborative approach, however
we determined that in using a series of
control points to adjust this curve within
Grasshopper, we ended up with too
many options and very little resolution.
It was thus determined that a better
approach would be to utilize a few single
curves which governed the overall form.
Essentially, the entire form is determined
by two closed reference curves at the
bottom and top of the structure.
The definition in Grasshopper was then
expanded using the constraints of the
original two curves in order to create
the unique individual modules that allow
for the form to be built. The definition
allowed for each module to make up part
of the freeform shape by giving it a unique
geometry based on its location within the
form. Included within the parametric
definition, each ‘box’ was split into four
unique side pieces and corresponding
tabs which connected each of the sides.
The tabs allowed each piece of a box
to conform to the correct angle, thus
allowing each box to fit into its specific
place within the structure. As noted
earlier, each module and the specific set
of unique components used to construct
it was labelled to help clarify construction.
Finally, the specific geometry of each
module was exported from Rhino into
simple line drawings, enabling them to be
cut by the CNC.
panelization+structure

80/35FESTIVAL DES MOINES, IA
80/35 FESTIVAL GROUNDS

localsiteplan

plan
section

The pavilion’s structure, elevational qualities, and reuse and
outreach strategies were all key features of the design.
DIAGRAMS
Structure
STRESSED
UNSTRESSED

Elevation
SKY
INTERACTION
SEATING

Reuse + Outreach
TYVEK PANEL
TEACHING KITS
PLYWOOD MODULE
LED STRIP
MICRO CONTROLLER
BOARD
KITS WILL ALSO COME WITH ASSEMBLY AND CODING
INSTRUCTIONS AS WELL AS TEST EXPERIMENTS
1. LEARN/CREATE
2. BROADCAST
3. TRANSFER

The completed pavilion was shared in two different settings, once
in our fabrication studio at Iowa State, and finally in its intended
setting in Des Moines for the 80/35 festival.
THE PAVILION

Architecture
Alexandra Abreu
Donnie Hull
Shaohua Dong
Bryan Johnson
Joshua Neff
Kelsie Stopak
Nathan Peters
Rahul Attraya
Cole Davis
Kaitlin Izer
Coralis Rodriguez
Kyle Vansice
Industrial Design
Tom Bos
Interior Design
Nikki Behnke
Hannah Greenfield
Makaela Jimmerson
Professor
Shelby Doyle, AIA
THE STUDIO
Throughout the semester, our studio has
pursuedthepotentialsofdigitallyinformed
and technologically advanced interactive
applications in architecture. Utilizing
a collaborative and infinitely malleable
parametric modeling process through the
3D platforms of Rhino and Grasshopper,
the limits of digital collaboration and
translation to the physical were tested.
The success of this digital exploration
is evident in the finalized 3D model and
Grasshopper script. These single files
controlled and orchestrated construction,
organizing production between the
variable fabrication techniques employed.
Especially pertinent was the labeling
system developed within the script,
allowing independent fabrication to occur
between the CNC, Vinyl Cutter, and the
LED teams. Additionally, fabrication of the
uniquegeometryinherenttothepavilion’s
components was made possible through
the digital realm, with our single base
model acting as a foundation from which
we could organize LED customization
while exporting each structural module
(automating each box’s unique geometry),
and panelized face.
However, we did encounter issues
regarding the translation from digital to
physical. Specifically, inherent material
defects (such as poor grade plywood)
affected the construction of our highly
specific geometry, with some boxes
having to be re-cut due to problems of
tolerance. Additionally, fabrication time
increased due to the complex geometry
of our design, negating any quick mass
production of similar components. Our
environmental goals became difficult
to meet as well, as excess material from
CNC cutting began to build up. However,
the knowledge gained from this highly
ambitious proposal has been invaluable
for everyone involved, allowing each
student to experience firsthand the
potential of digital design and fabrication.
Thank You to Our Sponsors
OPN Architects, Fieldstead & Company Endowment
for Community Enhancement, Stan G. Thurston
Professorship in Design Build, ISU College of Design, ISU
Department of Architecture, Des Moines Music Coalition
80/35 Music Festival. And thank you to Dronography
Iowa for the drone photographs.

instagram.com/Broadcast8035
broadcast8035.wordpress.com
issuu.com/broadcast8035

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