Jigging Process - Construction Process: set jig coordinates with video projected dimensions, mix and apply epoxy to panel, set panel in jig (pictured), cure, place on structure.
View from courtyard gate (night).
View from courtyard gate (day).
View from courtyard through doorway.
View from rooftop.
View from interior, looking up (night).
Smore construction.
Building community through sharing ideas was the focus of a summer long event series called Campfire Sessions.

Los Angeles, CA — Now at Materials & Applications is New York-based architect Edmund Ming-Yip Kwong’s newest installation, Project S’More: small is more. Constructed around ideas of how architecture facilitates community, Kwong ‘s work challenges the waste and individual heroism of contemporary starchitect driven architecture with a largely volunteer built structure that celebrates social connectivity and responsibility though its materials, production, and program.

Project S’More challenges the utility of the non-functional decorative skins that are prevalent in contemporary parametric architecture with a stunning yet economical confederacy of form and function. This eco-friendly, light weight, convolute framing strategy is composed of 175 uniquely curved pressure-laminated plywood panels which garner structural integrity through their sinuous contours. The dynamic 14? tall hexagonal mesh houses a central urban campfire a ring of salvaged tree trunk seats, creating a venue for intimate conversation and storytelling.

The broader architectural applications have the potential to green the building industry. With a traditional solid wood frame building, one and a half times more wood is wasted than is used. The majority of this yield is derived from the production process, in which the lumber is cored from the log. Because plywood is a veneer, unrolled from the log, nine to ten times more usable wood is produced, and thus there is the possibility of using a material that puts less strain on our natural resources.

Fabricating Project S’More was a unique opportunity to meld traditional and cutting edge technologies to manufacture something that feels both hand made and computational. Through a series of public workshops at Oliver Hess’Aperiodic Industries laymen and professionals continuously refined a series of tools that would allow for the public to participate in cutting, gluing and bolting several hundred different pieces of wood. First a 10? laser cutter was created, it worked for months cutting out all the pieces of wood, operated by a volunteer crew who continued to experiment with and refine the machine over the course of the exhibitions life. Second an Augmented Reality Jig was created, a series of clamps that could be set to thousands of combinations with the aid of video projection that made sure each piece of wood had the correct shape. Finally the gluing choreography was developed. With 12 people working together a cycle of production allowed wood freshly off the laser cutter to become a piece ready to be bolted into place in less than an hour. This project is exciting for its many technical innovations but mostly because they were executed as a social activity to research and development effective ways of working together creatively.

The assembly of the structure worked in concert with the interactive storytelling series Campfire Sessions, curated by Gordon Henderson. With an opening ceremony taking place within a base structure, storytellers from a variety of backgrounds gathered around the fire to cultivate community through sharing ideas and illuminate the overlap between two age old traditions – building stores and crafting buildings. Construction progressed along side the series culminating with a completion party.

Open from 10 am – 10 pm daily, and viewable 24/7. For more information on Project S’More and to keep current on future events head over to the recently revamped Materials & Applications website: emanate.org

Project S’more was made possible by: Los Angeles County Arts Commission, The Los Angeles Department of Cultural Affairs, Metabolic Studio, the Pasadena Art Alliance, and the Warhol Foundation. Special thanks to Potted for the cast concrete fire pit.