ICON's House Zero

New materials and products seem to always be coming onto the scene in the construction industry. High performance windows, eco-friendly finishes, recycled plastic furniture - even entire pre-fabricated homes are now available off the assembly line! But, new technology and processes are harder to come by - mostly due to the fact that it’s really difficult to convince a builder to try out a new way of doing things (annoyingly understandable because it costs time and money to learn and train people about something new).

And that’s why it was so exciting to check out ICON’s House Zero in Austin, TX this weekend. Designed by Lake Flato Architects, House Zero is a 3D printed house - built to showcase ICON’s concrete 3D printing capabilities. It’s a beautiful home. Nestled in the hot market of East Austin, it’s a cluster of concrete organic, curvy “tree trunks” creating the exterior wall, with glulam beams spanning the width of the house and creating a clean, flat roofline.

Street view of House Zero

Image Courtesy of Casey Dunn via ICON

The floor-to-ceiling windows and doors create an accessible feel to the building, and the limited material palette allow the building and its interior design to shine. The layers of the 3D printed walls create a texture that can catch the light just right. ICON’s technology is really similar to small format desktop 3D printing, but if you’re unfamiliar with that, let me attempt to explain. (Or you can just watch a video from ICON.)

So, there is a nozzle attached to a gantry (laymen’s terms: moving arm.) That nozzle slowly releases the building material (normally plastic in small scale and concrete in the case of ICON). As the nozzle is extruding material, the arm moves around according to a programmed file. 3D printing is pretty sweet. It can make some serious shapes and can lead to some amazing accuracy. And, it’s ‘mostly’ a set-it-and-forget-it situation, which gives you time back in your oh-so-important day.

ICON’s Vulcan nozzle extruding concrete

Image courtesy of ICON

Matt Risinger’s video is a great tour of House Zero with ICON’s co-founder and CEO Jason Ballard. They get into some of the nerdier details, so I urge you to check it out (the video is ~18 min long) if you’ve made it this far. As with most new technology, it’s pretty expensive to use right now, but there is a lot of opportunity here. Specifically, the cost of different wall thicknesses does not change that much because the nozzle just needs to go a little farther. As opposed to a stick-built house, where you need a completely a new stud size or maybe even double the studs to change the thickness of a wall.

Main Living Room of House Zero

Image Courtesy of Casey Dunn via ICON

Though concrete has recently taken a beating as a not so eco-friendly material, the fact that the structure can be the finish both inside and outside leads to an admirable honesty of the building. The efficiency of the technology is exciting, too. Another one of Risinger’s video visits a different ICON project, where smaller homes are printed in a week (pretty sure that includes just the first floor and none of the windows or trim or anything like that, but still, dang that’s quick). Less time should equal lower cost, right? So hopefully that means this isn’t just for the rich.

But, I also want to know what the average builder thinks about this. The general consensus on robots and automated technology is that everybody is going to lose their job and we are all going to end up like the fat people in WALL-E. Though I studied economics in undergrad, I am severely under qualified to evaluate that assessment of our future. So, naturally I’ll attempt to anyways.

I have faith that new jobs will emerge. They won’t look very similar to what we’re doing now, but we, as humans, will always create value in this world, not just consume it. The future is bright in my eyes. New jobs and new houses - hopefully 3D printed (maybe with recycled materials?!). That’d be ICONic.

Helmut Jahn

Helmut Jahn was a huge force in the design community. His projects, and seemingly his personality, were larger than life. One of his more well-known local projects (Thompson Center) was recently in the media, thankfully evading demolition. Unfortunately, Jahn passed away in May 2021 in an unexpected bicycle accident. In memory of him, the Chicago Architecture Center (CAC) put on a temporary exhibit. With drawings and models from his office, and thoughts from prominent design community members, we were able to reflect on the significant history of Jahn and his firm.

(Unfortunately, the exhibit is no longer on display after March 14.)

Joe and Rika Mansueto Library, Image Courtesy of JAHN

Jahn’s portfolio is a great example of how styles change over time. Influenced by the education and mentoring of prominent Modernist architects, you can see how Jahn took that as a jumping off point for his projects. In materiality, he used glass and metal throughout his career. Those materials lend to his projects being streamlined, sleek, and minimal - evoking Modernist tradition. But he breaks away from that mold with his embrace of technology and shapely form. 1000 S Michigan on the southern edge of Grant Park here in Chicago, IL and 50 West Street in NYC have softened edges. The Mansueto Library at University of Chicago has a heavenly domed roof. The Post Tower in Bonn, Germany uses the offset elliptical shape (check it out in plan) to adjust for wind and create stability.

Post Tower, Image Courtesy of JAHN

The German high rise also takes mechanical advantage of a double skin glass facade, as do many of Jahn’s other projects. Echoing the high-tech architecture movement (i.e. Norman Foster, Richard Rogers, Renzo Piano, etc.), Jahn embraced new technology and allowed it to inform his design decisions. Reaching beyond the scale of some of his peers’ projects, Jahn created Sony Center, an OMA-like-f*ck-context multiplex. Its beauty is in its ambition. It’s a wonderful collage of spatial function and innovative detailing. (Please forgive me for my occasional designer jargon).

The Suvarnabhumi International Airport was highlighted in the exhibit, emphasizing again Jahn’s frequent collaboration with German engineer Werner Sobek. The massive long-span roof was achieved through multi-dimensional trusses (I explain that vaguely because I indeed have a vague understanding of it). Airport architecture is a unique and challenging art form. The scale is immense. The orchestration of many moving parts and people is overwhelming. In Suvarnabhumi, O’Hare Terminal 1, Munich Airport Center (I’m obsessed), and various parts of other airport projects, Jahn translated that complexity into something stunning.

Munich Airport Center, Image Courtesy of JAHN

Though the exhibit itself was a bit confusing at times (the permanent CAC collection of scale models was weirdly intertwined with this exhibit), the CAC recognized Helmut Jahn’s legacy. He epitomized post-modernism. He was a deviation from the norm, and he was an answer to the subdued conditions of modernism. He was, and continues to be, an inspiration to the design community.