ACADIA, or the Association for Computer Aided Design in Architecture, established the ACADIA Awards of Excellence to recognize outstanding individuals and practices that think critically about the impact and possibilities of computer-aided design. This year, the ACADIA Awards recipients, including Mónica Ponce de León and Oyler Wu Collaborative, will present their work at the conference titled Recalibration: On Imprecision and Infidelity at the Universidad Iberoamericana in Mexico City from October 18–20. Dean of Princeton University School of Architecture Mónica Ponce de León won the Teaching Award of Excellence. Ponce de León is a Venezuelan-American architect who is also a renowned educator. She is the founding principal of MPdL Studio, which has officesin New York, Boston, and Ann Arbor. Prior to her deanship at Princeton, she was dean of University of Michigan’s Taubman College and a professor at Harvard’s Graduate School of Design (GSD). The awards committee commended her for the “integration of digital technologies into architectural education.” Jenny Wu and Dwayne Oyler, partners at Oyler Wu Collaborative, were awarded with the Digital Practice Award of Excellence. The L.A.-based, award-winning firm is widely recognized for its expertise in material research and digital fabrication. The firm is known for projects such as The Exchange in Columbus, IN, the 2013 Beijing Biennale installation named The Cube, and their installations and pavilions with SCI-Arc. The partners are both currently teaching at SCI-Arc and Harvard GSD. Other awards included the Innovative Academic Program Award of Excellence, given to the Institute of Advanced Architecture Catalonia; the Innovative Research Award of Excellence bestowed upon NVIDIA robotics researcher Dr. Madeline Gannon; and the Society Award of Excellence won by Association for Robots in Architecture co-founders Sigrid Brell-Cokcan and Johannes Braumann. Check out the complete list of winners here.
Posts tagged with "Jenny Wu":
The Los Angeles County Museum of Art (LACMA) recently announced a new crop of museum acquisitions that includes a variety of multimedia works by several Los Angeles–area architects and designers. Included in the set of new acquisitions, according to LACMA Unframed, is a neon lamp designed by Jimenez Lai of Bureau Spectacular. The so-called Scribble lamp is an outgrowth of the firm’s Tower of Twelve Stories installation at the 2016 Coachella music festival. The fixture is made up of a singular light tube that has been bent and folded to look like a bit of “neon gibberish” drawn by Lai. The circular light is designed so that it touches down at four points, relying on similar structural principles as those explored in the Coachella tower. Other examples of Lai’s work are also featured in the permanent collection of the Museum of Modern Art in New York City. Architect Jenny Wu’s Catena necklace, a work designed in Autodesk Maya, made from stainless steel-infiltrated with bronze, and fabricated using binder jet 3D-printing, was also chosen for LACMA’s permanent collection. Wu is a principal and co-founder of architecture firm Oyler Wu Collaborative and is also the creative force behind the 3-D-printed jewelry outfit LACE that fabricated the Catena necklace. Wu’s work with LACE began in 2014 as an offshoot stemming from a one-off production and has grown in the years since into a full line of 3-D-printed works meant to act as “architecture on the body,” according to the architect. The signature LACE Collection utilizes advanced 3-D-printing techniques like selective laser sintering and wax pattern 3-D-printing to create intricate works in nylon, steel, and precious metals. Describing the highlighted jewelry line, Wu explained that LACE was a continuation of the “experimentation in fabrication, material research, and design innovation” that drives her architectural work. Wu added, “I think this just propels us to keep pushing what we do, whether it’s [designing] an installation, a building, or a piece of jewelry.” Oyler Wu also has work featured in the permanent collection of the San Francisco Museum of Art. Architect Elena Manferdini’s recent project titled Building Portraits has also been acquired by LACMA. The multimedia project is an exploration of the digital weaving of architectural elements. The museum is collecting two groups of works associated with a multi-part project, including a set of two physical models, five drawings, a silk scarf, and a rug. For the project, Manferdini utilized digital weaving technologies to create graphic geometric prints that were then converted into the various textile forms and ultimately extrapolated into building facades. Explaining the project via email, Manferdini said, “The pieces acquired by the museum delineate my work’s progression from scripted drawings to textiles to building facades. It is a snapshot of my process of creation and the way in which certain ideas and techniques come to fruition in the field of design and architecture.” The architect added, “Being part of this collection gives to the work the exposure through time to a larger audience and can have tremendous value for research.” LACMA also acquired works by sculptor Ben Medansky, L.A. arts collective The Machine Project, sculptor Adam Silverman, artist David Wiseman, artists the Haas Brothers, and graphic designer Ed Fella.
Oyler Wu Collaborative partner delves into jewelry design.Oyler Wu Collaborative partner Jenny Wu had long dreamed of designing jewelry—just as soon as she found some spare time. Last fall, she realized that she might wait forever for a break from her busy architecture practice. "At some point I decided, 'I'll design some pieces, and the easiest way to make it happen is just to 3D print them,'" said Wu. She fabricated a couple of necklaces, and brought them on her just-for-fun trip to Art Basel Miami Beach 2013. "I wore my pieces around, and I was stunned by the response I was getting," she recalled. "People kept coming up to me, literally every five seconds. After a while, I thought, 'Maybe I do have something that's unique, especially for a design crowd.'" Back home in Los Angeles, Wu began prototyping necklaces and earrings for retail sale under the name LACE. Though she originally planned to use 3D printing only to mock up her designs, she decided carry the technology through to her finished pieces. "I'd like to do more high-end, low-run pieces," said Wu. "Especially for jewelry, when you're making custom pieces, people are willing to wait for them. It just made sense from the production point of view for me to use 3D printing." Wu's next step was to design additional pieces and test materials. Typical 3D printing materials like nylon "might look great, but they're extremely fragile and brittle," explained Wu. "Especially resins—they don't have the right tensile quality. Like if you're wearing a necklace and someone hugs you too hard [it can break]." Wu's current line includes necklaces in an elastic nylon material. She also offers earrings and rings in polished nylon that takes advantage of selective laser sintering (SLS) technology, plus a premium cast-metal series that utilizes 3D-printed wax molds. Wu, who is collaborating with Stratasys on certain designs in addition to partnering with other professional 3D printing firms, aspires to use the technology as more than just a production expedient. "Pieces that push the technology are important," she said. "There's so much detail you can introduce in 3D printing, even in metals. You can create this nice edge detail—it's something I notice, but it isn't necessarily something you'd see in jewelry." Nor is the speed with which she can materialize a concept typical by jewelry-world standards. "I can make these chain-link pieces as part of one print, because the support material is something like powder that you can basically wash off," explained Wu. "That's what's amazing, where in the traditional jewelry-making process you'd have to make individual links that you'd eventually assemble." In a neat closing of the circle, LACE returned to Art Basel Miami Beach last week, this time in a pop-up shop at Aqua Art Miami. One year into her experiment, Wu is comfortable having one foot each in the worlds of jewelry and architecture. "If you look at the jewelry pieces, you see how they could relate to our architecture: our emphasis on line-based geometries, the interesting bundling and layering of material, and creating something very spatial, not graphic and flat," she said. "I don't see a separation between my architecture and my jewelry." As for the day-to-day reality of spearheading two creative businesses at once, that seems to be working, too. LACE is in Wu's name, but "the work's happening simultaneously with all the same people," she said. "While it may have its own identity, it's very much part of our office in terms of production. We like how it keeps things fun."
37 first year SCI-Arc students have just finished a mesmerizing new installation in the school's parking lot called Sway. The project is made of 228 thin bundled steel rods, bolted into the ground and joined via flexible (and wild) wire units above. The vast and tightly-packed array of bendy rods are responsive to subtle changes in wind force (and not-so-subtle pushing by visitors), enabling the structure to move around like trees in a forest, or a collection of organisms. At night they catch the light in changing and surprising ways. The 1A Studi0—which produces a large installation every year— was led by professors Nathan Bishop, Eric Kahn and Jenny Wu. Bishop accurately called the piece an "encompassing environment." Which is what makes it so great: the chance to walk right into the art and interact with it.
The SCI-Arc Gallery's techno-thumping, wine-spattered opening nights are the place for local architects to drink and be drunk. The latest revelry celebrated the debut installation by Oyler Wu Collaborative, who are quickly becoming the hottest new duo in LA architecture. Dwayne Oyler and Jenny Wu's recent exhibitions include Density Fields at Materials & Applications and Pendulum Plane for the new LA Forum space. And now, Live Wire, which takes their massive aluminum tubing structures to the next level—literally! In collaboration with Buro Happold, Oyler and Wu have built a staircase consisting of 2,400 linear feet of tubing that leads from the ground floor of the gallery up into the second-story catwalk: "The stair, often relegated to pure functional use, is a testing ground for weaving together a multitude of architectural ideas, ranging from the manipulation of light, geometry, and structure to vertical circulation. Live Wire is aimed at suggesting an expanded definition of architectural elements, one that surpasses boundaries of simple functions and suggests intangible results." Oyler and Wu will be speaking about their pipe dreams with Eric Owen Moss on Monday, November 17 at 7pm. Or go to SCI-Arc's lecture this Saturday from 2-4pm, The City After the Economy, and check out Live Wire after what's certain to be a hilarious and fun-filled discussion. Cheer yourself up by simulating the economy...by walking exclusively down the stairs.