Architect 2014-07.pdf

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88 ARCHITECT JULY 2014 WWW.ARCHITECTMAGAZINE.COM RYAN LODERMEIER
89 To achieve the desired sound reflection or absorption across a panel surface, HouMinn Practice used a Grasshopper script to help determine the wire placement that would form the topography of the VarVac Wall panels. AwArd Varied Cable Mold Polystyrene sheet cables Plywood frame VarVac wall panel Houminn Practice creates one-off Panels witH minimal waste, energy, and material. “Custom fabrication allows architects to overcome what some consider the scourge of repetition in building components. But it also can be wasteful. For instance, variable molding, which is used to make one-off architectural surfaces and finishes, conventionally requires a mold that is discarded after a single use. Blair Satterfield and Marc Swackhamer, principals of HouMinn (pronounced “human”) Practice, located in Minneapolis and Vancouver, British Columbia, set out to streamline the technique, cut costs and waste, and still allow for “endless variation,” Satterfield says. Along the way, something remarkable happened: They eliminated the need for a mold. Juror Bill Kreysler was enthralled. “It’s huge,” he said. “Forty percent of the cost of making a panel is just creating the shape. Taking that whole issue of cost out of the equation is a big breakthrough.” HouMinn’s efforts culminated in the VarVac Wall, an ornamental, acoustically absorptive wall installed at the University of Minnesota School of Architecture, where Swackhamer is an associate professor and director of the M.Arch. program. The white plastic panels have an undulating, non-repeating topography of mounds and bubbles, some of which are sliced to expose the underlying green, acoustical fabric. Each 0.08-inch-thick panel was molded with just heat and gravity. First, HouMinn stretched wires across a plywood frame. Then they took a flat polystyrene sheet, heated it until it was pliable, and laid it across the cables, where it slumped into the voids. The resulting bubbles could be exaggerated with a heat lamp, while the rudimentary cable mold could be modified ad infinitum. “As we actively reduce the mold itself, the material becomes more of a voice in the conversation,” says Satterfield, an assistant professor at the University of British Columbia. Juror Gerardo Salinas saw larger applications for the firm’s process. “There’s potential to use this technology to wrap a whole building,” he said. Kreysler added, “Forming a material builds into that material’s inherent strength. There’s nothing that says you can’t create catenary arches.” ARCHITECT JULY 2014 WWW.ARCHITECTMAGAZINE.COM
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