"Evitim" Twisting Tower - ART OMI Exhibition
Ghent, New York
PRIMITIVE HUT Wood pavilion, photography by Brian Havener
Caroline O'Donnell + Martin Miller, Evitim, 2018 and Primitive Hut, 2017
Evitim is a 24’ tower in the Architecture Fields at Art Omi, in Ghent, New York that recycles the waste from the adjacent pavilion, Primitive Hut. While Primitive Hut was a decomposing pavilion made of hemp, sawdust, bio resin and manure, 64 sheets of plywood were used to produce the non-decomposable structural components. The leftovers from these CNC cut files were 8’ x 4’ plywood sheets in which the act of removing the components transformed the sheet into a pliable material. Using the leftover sheets’ newfound flexibility, the tower’s skin peels outward from top to bottom, creating four openings that mirror to Primitive Hut’s doors.
This twisting form is supported by four custom-made doubly-curved columns. The laminated beam connects to the steel tower only at the top and at the foot, which is extended and rotated 90 degrees. The two edges—one orthogonal steel, and one curved wood— are restitched using the voided plywood sheets.
The tension between the curvilinear form and the orthogonal have an orthopedic history. The frontispiece to Nicolas Andry’s book Orthopédie (1741) is an apt partner to Laugier’s ‘Primitive Hut’ illustration. The engraving shows a stake tied at regular intervals to a deformed, curvilinear tree. Published 4 years apart, the two illustrate a tendency that mirrors a contemporary position: to look to nature not for imitation, but as a model for how to operate. In the same way that Primitive Hut shows its ambivalence between natures and the artificial, Evitim expresses its duality between the organic and the orthogonal form.
Primitive Hut and Evitim are inverses of each other. While Primitive Hut is a thick volumetric lattice made by aggregation, its doppelgänger is all skin and surface, made by subtraction. Together, the sibling pavilions address questions of nose-to-tail material practices, waste as a resource, and cyclical thinking in architecture.
这种扭曲形式是由四个定制的双弯曲柱支撑的。由薄片叠成的梁仅在顶部和底部连接到延伸并旋转90度的钢塔。两个边缘 - 一个正交钢和一个弯曲木材 –都使用废弃的胶合板进行重新缝合。
曲线形式和正交之间的张力具有一个整形的历史。尼古拉斯•安德里(Nicolas Andry)的书《矫形外科》(Orthopédie,1741）的卷首插画是Laugier “原始棚屋”插图的非常恰当的合作伙伴。这种雕刻展示了一个定期与一棵变形的曲线树相连的桩子。这两幅画相隔四年出版，充分反映了当代的立场：寻找自然并非为了模仿，而是为了以它模型让我们知道如何运作。就像原始棚屋在自然与人造之间表现出的矛盾一样，Evitim表达了它在有机和这种正交形式之间的双重性。
Martin Miller of Antistatics and Caroline O’Donnell of CODA
Exhibition Date: October 6, 2018
Location: ART OMI Architecture Field 01
Project Leader: Derek Yi
Team: Alireza Shojakhani, Farzana Hossain, Arthur Yang, Mwanzaa Brown, Bushra Aumir, Osehikhueme Etomi, John Lai, Jason Lin, Anbar Oreizi-Esfahani, Jenny Zhang.
Thanks to: Cornell Architecture, and Cornell AAP, Mike Drake, Kurt Brosnan, Tyler Williams, Frank Parish
Engineer: Scott Hughes, Silman Engineers
Fabrication/Steel Installation: Mike Drake
Details of the pavilion
Detail of the pavilion
Photo by OMG!
Physical model and rendering by OMG!
Installation Process Video
This is a collaboration project, Photography and design by OMG!, collaboration with Caroline O’Donnell from CODA
See Original Article from Art OMI:
参见ART OMI 网站原始文章：