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tom WISCOMBE: the structure of the building is based on a hybrid of shell behavior, which is surface-based, and spaceframe behavior, which is vector-based. the structure adapts from an underdimensioned condition based on local geometrical and bending moment conditions. where the building shape allows for shell behavior, the depth approaches this minimum. where bending occurs, member depth is increased on a smooth gradient up to the maximum economical depth for a plate girder, at which point the structure delaminates to become a three dimensional vector-based spaceframe. this is a kind of structural phase change, or emergent effect, where the structural system changes in kind rather than simply in degree. it produces highly intricate and ornamental spatial conditions which can be understood qualitatively as well as quantitatively.

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tom WISCOMBE: the morphology of the project is based on patterns of armatures and pleats which form an intricate ornamental network. armatures are woven together to create the circulation and structure of the concourse, forming deep spaces and views from the plaza into the building as well as from the building down into the plaza and out into the city. micro-pleats track along the armatures but also spread out along surfaces, spatially drawing visitors inside the plaza. the sensations produced by this fluid geometry are heightened by a gradient of color which is most intense on the interior but fades out to the exterior of the building. formal and color intensities are at their peak in the concourse, and begin to atrophe toward the theater blocks at the perimeter of the site. in this way this project attempts to bridge classifications of generic and articulated form as well as monochromatic and variegated color.

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tom WISCOMBE: this project revisits the problem of architecturalizing tower infrastructural systems. rather than expressing the literal image of technology, the goal is to create technological ambience. this ambience is defined by translucency, shrouding, and exotic lighting and color effects. but it is also the result of hybridizing mechanical systems with other building systems in a way that cross-wires traditional hierarchies and produces synergetic forms.

the point of departure for the design was to allow ductwork to migrate out of the central core toward the exterior. the glass envelope begins to take on duct behavior by delaminating to create pleats where air can flow. these pleats branch and run across the building facades, linking to floor plenums on each level at several locations along the perimeter.

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tom WISCOMBE: the project is based on creating continuity between the three elements called for in the brief: a garden, a central sculptural volume, and a network of canopies. during the day, when temperatures can reach 120 degrees fahrenheit, this involuted, grotto-like space becomes an inviting sanctuary. indeed, in an environment where people often avoid the outdoors during daytime hours, this project offers a spatial and atmospheric solution. the surface of the roof transforms into a volume at the center of the plaza. this surface-to-volume transformation is an extension of an investigation into surface-to-strand geometries in recent projects. hybrid, transformative geometries offer a wider range of flexibility than surface, strand, or volume systems alone.

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tom WISCOMBE:batwing is part of a larger body of work concerned with creating coherent relationships between building systems through geometric and atmospheric means. the aim is to move toward a higher-order emergent wholeness in architecture while still maintaining a performative discreetness of systems. the project can be understood as an articulated manifold which incorporates structural, mechanical, envelope, and lighting system behaviors. this is not to say that any one of these systems is ‘optimized’ in terms of any functional category– the formal and ambient spatial effects of fluidity, translucency, glow, and silhouette are all as important for the overall effect of the piece. the intent is to establish a link between the sensate realm and infrastructural flows in architecture.

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tom WISCOMBE: this design for the cheongna city tower is based on creating an innovative spatial, structural, and energy production device which will become an operational symbol of the future for the ifez cheongna region. located at the intersection of the main pedestrian passageway from east to west and the main artificial waterway from north to south in lake park, the tower is intended to be a hub of urban activity and a new destination for the region.the structure of the tower is based on a steel exoskeleton rather than a traditional structural core model. Three main structural spines weave along the facades, varying in terms of depth, width, and rotation in response to vertical and lateral forces as well as geometrical rules set by the design team. The structural morphology becomes that of smooth gradients between surface, surface relief, and strand which is a continuing interest of emergent.

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suckerPUNCH: describe your project.

tom WISCOMBE: these three prototypes are a family. they are combinatorial in nature, fusions of diverse systems and services which generate emergent architectural behaviors and features. they are part of recent research in the office concerned with unpacking the spatial and ornamental potentials of airflow, fluid flow, and glow, often considered to be ‘minor’ forces in architecture. based on chunk logic rather than layer logic, these prototypes are intended to manufactured and delivered as fully integrated three-dimensional assemblies embedded with all internal infrastructural systems.

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tom WISCOMBE: the underbelly of the platform is articulated in a different way, according to a formal pattern logic of cells which become apertures for airflow capture. strong westerly and north-westerly winds on this waterfront site are directed into ducted air-intakes similar to those found in scramjet technology, which forces air into compression ducts in order to increase its velocity. This high-velocity air is used to run wind turbines at the back of the ducts which generate electricity to be used for the power needs of the project. overflow energy will not be stored in inefficient batteries but rather will be sold back onto the city grid.

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tomWISCOMBE: this proposal for the european solidarity center in no way tries to represent the events of the 1970s and 1980s; architecture that attempts to do this often remains conceptual and inert. the project instead is a platform for experiencing the site and the history within a new context and new spatial sensibility. it is proposed as a lively, open, urban space which will host both exhibitions on historical events and future-looking research and conferences on contemporary social and political issues.

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2009

aacdu : emergent s impressive command of variable structures, envelopes and forms according to peter zellner in his introduction offers up a genuine route away from the shimmering imagery of the computer screen and points towards an authoritative demonstration of an architecture grounded in new building techniques. this ambitious claim is supported throughout this publication with survey of 21 works and projects, reproduced here in full colour and accompanied by plans, details, computer models and texts. among the designs featured here, many unrealised, are the cheonga city tower in incheon, korea; the freshwater and emerald plazas, uae; sundsvall arts theater, sweden; the mersey observation deck, liverpool; their dragonfly design for sci-arc, los angeles; the czech national library, prague and the urban beach for moma/p.s.1, new york.