Evitim is a 24’ tower in the Architecture Fields at Art Omi, in Ghent, New York that recycles the waste from the adjacent pavilion, Primitive Hut. While Primitive Hut was a decomposing pavilion made of hemp, sawdust, bio resin and manure, 64 sheets of plywood were used to produce the non-decomposable structural components. The leftovers from these CNC cut files were 8’ x 4’ plywood sheets in which the act of removing the components transformed the sheet into a pliable material. Using the leftover sheets’ newfound flexibility, the tower’s skin peels outward from top to bottom, creating four openings that mirror to Primitive Hut’s doors.

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This twisting form is supported by four custom-made doubly-curved columns. The laminated beam connects to the steel tower only at the top and at the foot, which is extended and rotated 90 degrees. The two edges—one orthogonal steel, and one curved wood— are restitched using the voided plywood sheets.

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The tension between the curvilinear form and the orthogonal have an orthopedic history. The frontispiece to Nicolas Andry’s book Orthopédie (1741) is an apt partner to Laugier’s ‘Primitive Hut’ illustration. The engraving shows a stake tied at regular intervals to a deformed, curvilinear tree. Published 4 years apart, the two illustrate a tendency that mirrors a contemporary position: to look to nature not for imitation, but as a model for how to operate. In the same way that Primitive Hut shows its ambivalence between natures and the artificial, Evitim expresses its duality between the organic and the orthogonal form.

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Primitive Hut and Evitim are inverses of each other. While Primitive Hut is a thick volumetric lattice made by aggregation, its doppelgänger is all skin and surface, made by subtraction. Together, the sibling pavilions address questions of nose-to-tail material practices, waste as a resource, and cyclical thinking in architecture.

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Evitim是位于纽约根特的OMI艺术建筑场地的一座约24英尺高的塔，它是通过回收相邻展馆的废料而建成的原始棚屋。虽然这个原始棚屋是一个由大麻、木屑、生物树脂和肥料组成的可分解屋舍，但其中有64张胶合板被用来生产不可分解的结构零件。这些8英尺×4英寸的胶合板是来自CNC切割文件的剩余物，并且它们去除零件的动作可以将这些片状胶合板转变成柔韧的材料。而我们通过利用剩余板材新发现的灵活性，将塔楼的表皮从上到下向外剥离，形成四个开口，从而与原始小屋的门相映成趣。

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      这种扭曲形式是由四个定制的双弯曲柱支撑的。由薄片叠成的梁仅在顶部和底部连接到延伸并旋转90度的钢塔。两个边缘 - 一个正交钢和一个弯曲木材 –都使用废弃的胶合板进行重新缝合。

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      曲线形式和正交之间的张力具有一个整形的历史。尼古拉斯•安德里(Nicolas Andry)的书《矫形外科》(Orthopédie,1741）的卷首插画是Laugier “原始棚屋”插图的非常恰当的合作伙伴。这种雕刻展示了一个定期与一棵变形的曲线树相连的桩子。这两幅画相隔四年出版，充分反映了当代的立场：寻找自然并非为了模仿，而是为了以它模型让我们知道如何运作。就像原始棚屋在自然与人造之间表现出的矛盾一样，Evitim表达了它在有机和这种正交形式之间的双重性。

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      原始棚屋与Evitim之间是彼此相反的。虽然原始小屋是由聚集形成的厚的体积网格，但它的doppelgänger是由一种减法制成的所有皮肤和表面。兄弟馆在一起讨论共同解决了建筑中不同的材料实践、浪费资源、和循环思维等问题。

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