INITIATIVE 99, OPEN COMPETITION by ICON, 2023/24
3D PRINTED AFFORDABLE HOUSING
IN Collaboration with matthiasgöttfert.at
DESIGN DESCRIPTION
Fundamental to our proposal: leverage economies of 3D printing to devise a novel living typology that on a community level is culture & nature-generative, and on an individual level provides increasing interior room over time: an expanded space to create Art, to Craft and wherefrom to engage socially and economically. Therefore, we rationalized a dynamic Architectural Boundary that is timeless in its expression, nurturing in manifestation, that provides a dignified and economic incipient habitation yet accommodates growth over lifetime without becoming outgrown.
The enforced low complexity to the finished architectural object via focused narrative and maximal 3D printed material, together with an economical start-out living space should hit the affordable (dignified) housing target set out by Initiative 99. In our submittal the architectural printing technology amounts for the Architecture throughout: physically and conceptually. - Team ADRMA
The enforced low complexity to the finished architectural object via focused narrative and maximal 3D printed material, together with an economical start-out living space should hit the affordable (dignified) housing target set out by Initiative 99. In our submittal the architectural printing technology amounts for the Architecture throughout: physically and conceptually. - Team ADRMA
SPATIAL CONCEPT
ARCADE WALLS
- unify property-lines & house limits
- maximized to printbed
- semi-permeable to social & natural surroundings
- top crenelations affix roof units
- shaped for increased roof loads
- interior display alcoves
- unify property-lines & house limits
- maximized to printbed
- semi-permeable to social & natural surroundings
- top crenelations affix roof units
- shaped for increased roof loads
- interior display alcoves
NAVE
- Inhabitable middle space
- starts-out at ca. 700 square feet (ca. 33 x 21 feet interior space )
- Expandable via modular roof
- & the x2 front and back articulated glass wall membran
- Inhabitable middle space
- starts-out at ca. 700 square feet (ca. 33 x 21 feet interior space )
- Expandable via modular roof
- & the x2 front and back articulated glass wall membran
We favoured a narrative design process over a space-planning one: absorbed the notion of property lines into the house volume; proposed maximal walls within the print bed, with arcades permeable to nature and pedestrian comings and goings to semi-open gardens. Novel modes of interaction between neighboring homesteads are expected. Biodiverse iterations of the semi-open (sheltered) arcade courtyards are enabled.
We did away with interior partitions: they are user-added later items. Central: a private inhabitable middle space (Nave), within it an obstacle (Lith) that invites definitions of interior space through consideration and reaction & acts as a distributor for the MEP umbilicals. The extents of the interior habitable space are to be increased with the added adaptability of a modular roof and articulated glass membranes (walls).
The expandable interior space is aimed at self-sustaining (durable) cultural and economic activities. The emerging expressions of Life within the later-stage homestead overflow the semi-open courtyards beyond the arcades and into the larger social- (culture-generative) and natural- (nature-generative) space of the surrounding community, accreting in time into an authentic and sustainable local culture.
LITH
- interior space disruptor/ organizer
- technical umbilicals base + 3D-printed monolith top
- interior space disruptor/ organizer
- technical umbilicals base + 3D-printed monolith top
CONSTRUCTION
ROOF
- Expandable via 3D-printed units
- Module 3D-printed at maximum allowable printer angle
- Operations: Printed, lifted, rotated, lowered and affixed into wall crenellations at angle
- Expandable via 3D-printed units
- Module 3D-printed at maximum allowable printer angle
- Operations: Printed, lifted, rotated, lowered and affixed into wall crenellations at angle
ECOLOGY
- Room modules final angle: 30º for optimal Solar Panel installation in Austin, Texas
- Lith base: distributor of technical lines
- Lith stone: thermally activated
- Roof modules installed at 30º angle for optimal Solar Panel installation (Austin, TX)
- Pictured roof merlons and embrasures: for natural ventilation and lighting
- Cross ventilation through the centre (Nave) of the house
NARRATIVE DRIVEN ARCHITECTURE
"The artistry and industry of past masons is recontextualized. Ramparts, arches revisit toil rendered facile, its industrious ghostly hands, their cracking joints and shoulders coming down on stone: become bits, vectors, thoughts of themselves sped up a thousand-thousand times into coalescing coils of rock; memories twice removed of a Locus where only children yet dwell, their knighted plays closed-off from our esoteric mathematics of real estates.
The banality of meagre property: a fistful of expensive dirt 20 feet apart, considerations and worries of polycarbonate property to be kept behind flimsy fencing: gone. The arcades set now the soft boundaries of the homestead, they permeate with the comings and goings of grasses, hares at thawing dawn, hawks, bundles of cultured vines bearing savour.
99.000 to draw out the flowing coils and cool them, have them coalesce into arches and ramparts, then the Hold/Nave, its platform cast between the hulls, the core Stranger/ Lith and two glass walls, the permeable roof. The Stranger/ Lith centre is a participant, disruptive, an obstacle that invites reaction, interaction, consideration and consequently a division of space: rooms develop around it. Some break it down entirely. Alcoves in the lava walls of the Nave hold thoughtful manifestations. I consider how I am held now within great half-open Lava vines in a permanent space that expands and retracts with the ebbs and flows of assiduous life, wide enough apart so that I may transit through and back as I want, and any which way. I do, I reach out to the surrounding homesteads: similarly grafted vines onto the increasingly fertile landscape.
They (the arcade walls) are rather more nurturing warm branches and foliage than bars to a Voliere. Certainly not the run-down stale amalgamation of impassable past plates & boxes: their little way out, little way back into them, no means given to change or expand that cryptid Flat nought, only means offered to shrivel or shed the pressing walls at great loss of laboured life.
Here now in this Hold the astronaut will truly die a knightly death in his magistral worn-out Pextex shroud, where from the indomitable verdant seeds of his lifelong secluded artistry will overflow the Nave and burgeon now turbid Vesta, as they first fill her lungs with the ferrous odour of life.
A thought: the modular roof merlons and embrasures falsely remind me of the Barbican. My memory of it is corrupted with iteration.
The banality of meagre property: a fistful of expensive dirt 20 feet apart, considerations and worries of polycarbonate property to be kept behind flimsy fencing: gone. The arcades set now the soft boundaries of the homestead, they permeate with the comings and goings of grasses, hares at thawing dawn, hawks, bundles of cultured vines bearing savour.
99.000 to draw out the flowing coils and cool them, have them coalesce into arches and ramparts, then the Hold/Nave, its platform cast between the hulls, the core Stranger/ Lith and two glass walls, the permeable roof. The Stranger/ Lith centre is a participant, disruptive, an obstacle that invites reaction, interaction, consideration and consequently a division of space: rooms develop around it. Some break it down entirely. Alcoves in the lava walls of the Nave hold thoughtful manifestations. I consider how I am held now within great half-open Lava vines in a permanent space that expands and retracts with the ebbs and flows of assiduous life, wide enough apart so that I may transit through and back as I want, and any which way. I do, I reach out to the surrounding homesteads: similarly grafted vines onto the increasingly fertile landscape.
They (the arcade walls) are rather more nurturing warm branches and foliage than bars to a Voliere. Certainly not the run-down stale amalgamation of impassable past plates & boxes: their little way out, little way back into them, no means given to change or expand that cryptid Flat nought, only means offered to shrivel or shed the pressing walls at great loss of laboured life.
Here now in this Hold the astronaut will truly die a knightly death in his magistral worn-out Pextex shroud, where from the indomitable verdant seeds of his lifelong secluded artistry will overflow the Nave and burgeon now turbid Vesta, as they first fill her lungs with the ferrous odour of life.
A thought: the modular roof merlons and embrasures falsely remind me of the Barbican. My memory of it is corrupted with iteration.
I take in the stranger Lith inside the Hold. Is it fallen over? Ok, I’ll bite, let me slip off. I head on from here onto behind words, behind notions of societal bonds and grasping want at slipping restful sunset years. My life transcends the two weeks a year/ the three months every ten years/ now the nine months I have left at the tail end of indentured life. I’d rather check them all in now, yes? All at once and all the days I have outside these meagre resting sums, in-between and beyond them and I will live them out all together now, uninterrupted by fear of illusory missiles and crashing valuations. I’ll now plant my life here between these coiled arcades to know my spouse, know my children. I will see them grow and we will consider the sky every day, plant green life and reap savour from it with our hands, as wild hawks take down the wasteful buzzing drones slinging poison from the skies. Ours is a small hold now, here between the coiled arcades, but we fill it in and grow out in its loose embrace with ample Room for our future selves.
Tall, coiled arcades draw out in darkness and thunder: a cathedral’s Nave jutting out from a storming sea, open to the overflowing starlit firmament. A vastness of grasses-like and bushes-like now crashes through and on and on, choppy waves of carbon and sulfur spray under the roiling salt mist skies. Great trees-like fall now over the ramparts and through the tumbled roof onto shells, vestiges hold still the ghosts of pioneers, astronauts long recessed into the innumerable folded digital ancillaries to their bounty: coruscating abstractions of angels and paradise therein."
Tall, coiled arcades draw out in darkness and thunder: a cathedral’s Nave jutting out from a storming sea, open to the overflowing starlit firmament. A vastness of grasses-like and bushes-like now crashes through and on and on, choppy waves of carbon and sulfur spray under the roiling salt mist skies. Great trees-like fall now over the ramparts and through the tumbled roof onto shells, vestiges hold still the ghosts of pioneers, astronauts long recessed into the innumerable folded digital ancillaries to their bounty: coruscating abstractions of angels and paradise therein."
ÜBERSETZUNG AUS DEM ENGLISCHEN
"Die Kunstfertigkeit und Industrie vergangener Steinmetze wird neu interpretiert. Wallanlagen und Bögen durchlaufen die Mühe, die leicht gemacht wurde, durch ihre fleißigen, geisterhaften Hände, deren knarrende Gelenke und Schultern auf den Stein herabkommen: sie werden zu Fragmenten, Vektoren, Gedanken von sich selbst, beschleunigt tausendfach zu verschmelzenden Spiralen aus Fels; Erinnerungen zweifach entfernt von einem Ort, an dem nur Kinder noch verweilen, ihre ritterlichen Spiele abgeschottet von unserer esoterischen Mathematik der Immobilien.
Die Banalität des dürftigen Besitzes: eine Handvoll teurer Erde, 20 Fuß voneinander entfernt, Überlegungen und Sorgen um Polycarbonat-Besitz, die hinter dünnen Zäunen gehalten werden sollten: verschwunden. Die Arkaden setzen nun die sanften Grenzen des Anwesens, sie durchdringen mit dem Kommen und Gehen von Gräsern, Hasen im tauenden Morgengrauen, Falken, Büscheln kultivierter Reben, die Geschmack tragen.
99.000, um die fließenden Spiralen herauszuziehen und abzukühlen, sie zu Bögen und Wallanlagen werden zu lassen, dann der Saal/ das Schiff, seine Plattform zwischen den Rümpfen, dem Fremden/ Lith und zwei Glaswänden, dem durchlässigen Dach. Das Zentrum des Fremden/ Lith ist ein Teilnehmer, disruptiv, ein Hindernis, das Reaktion, Interaktion, Überlegung und folglich eine Aufteilung des Raumes einlädt: Räume entwickeln sich um es herum. Einige brechen es vollständig ab. Nischen in den Lavawänden des Schiffes halten nachdenkliche Manifestationen. Ich überlege, wie ich jetzt in großen halb offenen Lava-Ranken in einem permanenten Raum gehalten werde, der sich mit dem unablässigen Auf und Ab des emsigen Lebens ausdehnt und zusammenzieht, weit genug auseinander, damit ich hindurch und zurück gehen kann, wie ich will, und in jede Richtung. Das mache ich, ich verbinde mich mit den umliegenden Gehöften: ähnlich gepfropfte Reben auf die zunehmend fruchtbare Landschaft.
Sie (die Arkadenwände) sind eher pflegende warme Äste und Laub als Gitterstäbe für eine Voliere. Sicherlich nicht die heruntergekommene, abgestandene Verschmelzung von unpassierbaren vergangenen Platten und Kisten: ihr kleiner Ausweg, wenig zurück in sie, keine Mittel, um diese kryptische Flachheit zu ändern oder zu erweitern, nur Mittel, um die drückenden Wände unter großem Verlust mühsamen Lebens schrumpfen oder abwerfen zu lassen.
Hier, in diesem Saal, wird der Astronaut wirklich einen ritterlichen Tod in seinem abgetragenen Pextex-Schleier sterben, aus dem die unbesiegbaren, grünen Samen seiner lebenslangen zurückgezogenen Kunst jetzt den Saal überfluten und jetzt trübe Vesta sprießen, während sie ihre Lungen zum ersten Mal mit dem eisenartigen Geruch des Lebens füllen.
Ein Gedanke: Die modularen Dachzinnen und Schießscharten erinnern mich falsch an das Barbican. Meine Erinnerung daran ist mit Wiederholungen korrupt.
Ich betrachte den fremden Lith im Saal. Ist es umgefallen? Okay, ich beiße an, lass mich abrutschen. Ich gehe von hier aus weiter, hinter Worte, hinter Vorstellungen von gesellschaftlichen Bindungen und greifendem Verlangen nach ruhigen Sonnenuntergangsjahren. Mein Leben überschreitet die zwei Wochen im Jahr / die drei Monate alle zehn Jahre / jetzt die neun Monate, die mir am Ende des verpflichteten Lebens bleiben. Ich würde sie alle jetzt einchecken, oder? Alle auf einmal und alle Tage, die ich außerhalb dieser mageren Ruhezeiten habe, dazwischen und darüber hinaus, und ich werde sie jetzt alle zusammen leben, ununterbrochen von der Angst vor illusionären Raketen und abstürzenden Bewertungen. Ich werde jetzt mein Leben hier zwischen diesen gewundenen Arkaden pflanzen, um meine Frau zu kennen, meine Kinder zu kennen. Ich werde sie wachsen sehen, und wir werden jeden Tag den Himmel betrachten, grünes Leben pflanzen und davon mit unseren Händen ernten, während wilde Falken die verschwenderischen summenden Drohnen vom Himmel holen. Unser ist jetzt ein kleiner Hof, hier zwischen den gewundenen Arkaden, aber wir füllen ihn aus und wachsen in seiner lockeren Umarmung mit reichlich Platz für unsere zukünftigen Selbst.
Hohe, gewundene Arkaden erstrecken sich in Dunkelheit und Donner: ein Kathedralenschiff, das aus einem aufgewühlten Meer herausragt, offen für das überfließende, mit Sternen übersäte Firmament. Eine Weite von gras- und buschähnlichen Formationen bricht jetzt hindurch und weiter und weiter, wellenartige Kohlenstoff- und Schwefelspritzer unter den aufgewühlten Salznebelhimmeln. Große baumähnliche Strukturen stürzen nun über die Zinnen und durch das zerbrochene Dach auf Schalen: Überreste halten immer noch die Geister von Pionieren fest, Astronauten, längst in die unzähligen gefalteten digitalen Ventrikel zu ihrer Belohnung zurückgezogen: schillernde Abstraktionen von Engeln und Paradies darin."