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Wood Pavilion / Wing Yi Hui + Lap MingWong

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Wing Yi Hui + Lap Ming Wong


Wing Yi Hui and Lap Ming Wong, two students from Hong Kong studying at The Oslo

School of Architecture and Design, have shared their wooden pavilion with us. The

performance-oriented design studio, under the guidance ofProfessors Michael U. Hensel,

Defne Sungurolu Hensel and Dr. Birger R. Sevaldson, gave the students the

opportunity to explore the performance of the wood and create a customization possibility

within the constraints of a platform of standardization. The designers explained, By

understanding the performance of material, and allowing it to perform its intrinsic properties,

innovative and sustainable methodology of architectural production could be emerged as a

natural response. Deformation of wood due to moisture is no longer a nuisance but a benefit

to fabrication.

Check out their process work and even more about their project after the break.

World
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9 May 2013

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Ramon Esteve



By researching the properties of the wood, the designers could make the wood conform to

their artificial aesthetics in a natural way. During the process of swelling, pressure

difference among cells results in energy storage within the micro structural system. By

applying lamination constraints to the curved veneer before the rebound upon drying, energy

can be stored. Through testing the process of lamination and deformation, specific system

with highly variable geometry can be explored, explained the designers.

To reach the desired affect, the process was a constant experimental exercise using both

digital and physical methods. Relying on digital computations alone does

not yield completely accurate results, for the complex structural arrangement andperformance of wood may add some varying affects. The computational tool predicted the

approximate dimensions, global geometry and compositional curvature while physical tests

are carried out to combine the material performance with computer-generated data for

further evaluationsThe relationship between the tools c reate unique interface for

generation of the emergent typologies and global geometry of performance-oriented

exploration as such, explained the students.
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Wing Yi Hui + Lap Ming Wong Wing Yi Hui + Lap Ming Wong Wing Yi Hui + Lap Ming Wong





As the project developed, the students applied their understanding of strategic

moisturization, the translucent qualities of thin veneer and elasticity of wood to create a

potential architectural element. The construction consisted of 46 groups of components

while each of them consisted of 5 components: 36 identical groups of them are fabricated

for the major structure, while 3 components in 6 groups of the total are fabricated differently

for extreme curvature shift. Adding components and varying lamination position and area

creates significant internal self-organization of the system and generate highly differentiated

geometry.

Rather than resorting to computational machines for the fabrication process, by simply

varying the parameters of lamination in terms of positions and area, the curvature of the

wood changes. Standardized and identical components are then performing with

customized post-construction alterations without fabrication of unique components or pre-

shaped elements. Standardization could actually achieve customization in the research

without production large amount of waste, added the designers.
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Cite:

Cilento , Karen. "Wood Pavilion / Wing Yi Hui + Lap Ming Wong" 12 Ju l 2010. ArchDaily. Accessed 15 May

2013.



Wing Yi Hui + Lap Ming Wong Wing Yi Hui + Lap Ming Wong Strategic Moisturization Wing Yi

Hui + Lap Ming Wong

Localized Tuning Wing Yi Hui +

Lap Ming Wong

Wing Yi Hui + Lap Ming Wong Wing Yi Hui + Lap Ming Wong

Wing Yi Hui + Lap Ming Wong Unpredictable Behavior Wing Yi

Hui + Lap Ming Wong

Elasticity Wing Yi Hui + Lap Ming

Wong

Wing Yi Hui + Lap Ming Wong Wing Yi Hui + Lap Ming Wong

Performance-oriented design: Wood Pavilion

Students: Wing Yi Hui, Lap Ming Wong from Oslo School of Architecture and Design

Performance-oriented design studio, Conducted by: Prof. Michael U. Hensel, DefneSungurolu Hensel and Prof. Dr. B irger R. Sevaldson.

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Architecture News Pavilion LapMing Wong Norway Oslo School ofArchitecture and Design Wing Yi Hui

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14 comments

Flick

Wing Yi and Lap Ming

Flick

Kit

Flick

Reply

I hope Im not the only architect w ho feels that todays architectural education tends to focus TOO

much on theory and archi-speak rather than validity of materials and w hether the students can s eriously put

ogether a set of draw ings. Investigation is excellent, but w ithout practicality, it becomes yet another He-

Who-Must-Not-Be-Named sc ulpture w ithout much thought tow ards real-w orld budgets and time constraints.

That being said, I seriously like the f orm and the sculptural effects , but can y ou draw it and detail it w ell

enough for a layman to build?

Reply

Oh thanks Flick! Maybe its the c rux of the project as w ell. The complexity of the project is

actually arose f rom very s imple geometry w ith certain imposed logic w hich explored the materiality and

behavior of w ood. Image no.20 is the production method of the identical sequence. By lamination of this

element w e got the entire structure. Its almost all w e need to construc t!

Its not a v ery conv entional process but once you understand the principles, the f abrication process

becomes very simple and requires very little material: as the material is doing w hat they w anted to do.

As the veneer is very thin, certain moisture content and waiting time should be allow ed for the w ood to

deform into desirable state. The duration of c onstruction w as around 50 hours by the tw o of us.

The technology improved so rapidly now adays and w hat architect defined drawing is changing from

ime to time. The media of communication is improving as w ell and data can be nowadays conveyed by

so many better means for the use of everyone!

Youre missing my point. As I mentioned, I seriously like the form and the sculptural

ff ects, but can y ou draw it and detail it well enough for a layman to build.

he designer is ty pically not the layman who constructs the object. The layman, generally, doesot care about the materiality nor the behavior of the w ood. Im sure the fabrication process for

ou, the designer, w as quite easy because you understood that which you w ere trying to

ccomplish, but w ould you be able to convey this same process to a layman, through a set of

raw ings. The architect is generally not on s ite each day to tell the layman how to accomplish

his task and it is not w ithin the architects repertoire f or the means and methods of construction.

Using archi-speak may s ound intelligent to some, but unless this object c an be cons tructed by a

ayman, its going to be expensive and f rustrating w ith LOTS of RFIs. As indicated in the article,

To reach the desired affect, the proc ess w as a constant experimental exercise using both

igital and physical methods. In other w ords, to the layman and most others, this may appear to

e more sculptural. A contractor does not w ant the expense of his c onstruction to be a constant

xperimental exercise, UNLESS he/she is getting paid EXTREMELY w ell for the process and/or it

s a highly v isible project.

For an architectural student and designer, it is truly a w onderful piece for the exploration of

aterials and much can be learned f rom this experience. My statements w ere merely to question

hether this can be built in the real world, w ith time constraints, budgets, and a carpenter w ho

oesnt w ant to experiment but rather w ants to know how to build it by looking at the blueprints,

ather than having to call the architect at every tw ist and turn.

Reply

The criteria for architecture is not w hether it can be built by a layman, unless that is the

specific premise for the project. I understand your perception that students w ork isnt rooted in real

w orld applications, but isnt it nice that these students that w ill soon be stuck in the daily grind of

condos and off ice tow ers, have an opportunity to explore new and exciting ideas? Our field w ouldnt

advance w ithout these types of creative outlets, and we should support them.

I love architecture and all it stands f or and I certainly agree that students should be

llowed the f reedom of creativity. I have nothing against studying the nature of materials and the

reativeness w ith w hich new typologies can be formed. If you read my original comment, youll

ee my premise is simply to question the amount of Theory being taught today and the amount of

archi-speak that gets overly intertwined w ith a description in the discovery of a materials

intrinsic properties. Allowing s omething to perfor m its intrinsic properties is quite the opposite

f making wood c onform to their artificial aesthetics. By using too much archi-speak it

ppears that the authors have clearly negated themselves in w hat they w ere trying to indicate.

It is commendable that Universities permit their students to be c reative and inventive, but is is fair

o the student (and to the firms that must hire them) to make them believe that using a lot of

umbo-jumbo archi-speak to descr ibe their process and goal w ill provide the listener w ith a

etter understanding of the designers f inal intention? Hence, w hy I bring up the question as to
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Kit

Dennis Cheung

dashen

buck

Rich

gmlgrl

ashahi

hether or not the proces s can be explained to a layman.

rchitecture is af ter all (in its most basic of terminologies) the art and science of designing and

recting buildings and other physical structures to simply quote Wikipedia. Note the tw o verbs

designing AND erecting.

Reply

So to be clear Flick: You like this project, and your only complaint is in terminology.

I might agree w ith you. People have been soaking thin strips of w ood to manipulate it for thousands of

years. There are many simple terms associated w ith these types of processes (steam bending, to

name one). The project itself reminds me quite a bit of basket w eaving, a craf t that has been practiced

since the earliest hunter-gatherer tribes developed, in which thin strips of w ood/bark/branches/etc are

soaked in w ater and then eas ily bent into shape. Maybe Wing Yi Hui and Lap Ming Wong could have put

heir process into simple terms.

Through testing the process of lamination and def ormation, specific system w ith highly v ariable

geometry can be explored can be summed up as We tried a few different w ays to bend and attach

he w ood, and found that w e could make many diff erent shapes.

To me, this simplistic language doesnt seem very academic. Maybe thats the underlying issue that you

are trying to convey here, that w eve lost touch w ith reality. But on some level I disagree, because

hese are the technical terms that our f oundations in architecture are built on. These are all specific

erms with exact meanings. We use these types of specif ic terms when w e specify means of

construction in our construc tion documents. We do this because thes e complex w ords can ex plain a

process or material in an exacting w ay w ithout redundancy or vagueness (w ritten well of course).

Its an interesting argument though, isnt it? Are w e designing for highly specialized technical f ields,

acting more or less as ass emblers, or are w e designing for laypeople whos craf t is as much rooted in

interpretation as proces s?

Sorry to take the convers ation away from the project itself. I think its beautiful, and I am not at all

confused by the tex t that acc ompanies it. I love the photo looking up through the slats at the sky. Id like

o feel the sense of enclosure (In laymens terms Id like to sit in it).

Reply

Bravo!

Very w ell documented project. I like especially the students endeavor in experimenting the material, the w ay

hey test its property and limited options out of their findings, in order to achieve customization in their design.

For this, I w ould argue against such pr ojects practical necessity in the building industry mentioned by the

other comment. It is obvious that s uch material scale is related to handcraf t f urniture/installations that w ill be

off -track to think in a skyscraper w ay w hich needs technical drawings f or, let say, construction workers. In

order not to lose the sensational thickness of the almost immaterial veneer, the project should stay in a

ouchable scale.

All in all, welldone!

Reply

reminds me the wor ks by AA EmTech. its cool and prototypica l indeed. it seems more and more

architectural educations tend to be this w ay. Nevertheless, I still highly doubt the implementation in real

context.

Reply

Cool research! Its a ver y good tes t indeed in architectural education. Agreed to the previous

comment about the implementation but it may not be necessary for going to such an extent, and I believe the

investigation is even more valuable than the result.

Anyw ay good w ork!

Reply

Im w ith you, Flick, and Im only beginning my third year of ar chitec ture sc hool at Carnegie Mellon

University.

Language allows a c lient to set forth their ow n needs, and to create a scripture with w hich the architect must

grapple (a brief). Thats pretty darn fundamental to the process of architecture. Language fails, however,

because it isnt global I have seen too many colleagues w ith good ideas flounder because they c antexpress themselves in English very fluently.

Flick, these students v ery clearly meant that they w ished to exploit the natural abilities of w ood (to bend

once moist), not discover and expres s natural properties of w ood. Not to be culturally insensitive, but

udging from the names of the students, it seems they bef all the same fate as many other s econd-language

speakers.

To this, I have only one s uggestion: speak through draw ings and models! No matter w hether the critic s peaks

English, Yiddish, Braille, they can see space, see material, see lines, s ee colors, s ee your point. If youre not

sure about a w ording, make a model or diagram?

Best of luck to everyone and congrats on the project,

Rich

Reply

Pretty nice project, only problem is its almost identical to a UC Berkeley student project led by Lisa

Iwamoto called Digital Weave from like six rears ago same geometry, same for m, same tectonics, only thing

different is the material (wood vs plastic)its published in her Digital Fabrications book, among other places.

and yet, you dont see this differenc e of material makes these tw o projects completely

different on their research basisusing wood and its reaction to w ater to generate a geometry and

structure is pr ofoundly intriguing

no matter wood,plastic or metalthese kind of material research opens a great platform for architects
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Reply

and designers to us e material in a more innovative, and also, smarter w ay.

Reply

Jesus! you w ould probably think the louvre pyramid is identical to the ancient ones.

Reply

d?
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