Trans-Scalar Diversity Microclimatic Articulations
Ankit Savla Architecture and Performative Design 2014-15
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Contents Agenda Architecture and Performative Design
Fine line engraving
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Micro climatic Articulation
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Greeble -- 24 Sequence of Morphogenesis
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Void Research -- 52
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SAC Architecture and Performative Design The specialisation Architecture and Performative Design (APD) is build on the premise that the world around us is working in processes. Getting an understanding of processes in general and developing a sensibility to think in procedural relations is the ambition of the programme. It leads towards an approach in design that is centred around the construction of systems which are the mediator and enabler for creating architectural artefacts. This is a shift in what is generally considered intuition. Instead of acting directly on a given design one builds, changes, and tweaks a underlaying system. This not only delivers an architectural product but along with it a meaningful evaluation of the performance criteria considered. These criteria could range from material, construction, manufacturing to environmental, technological and cultural factors. The performative value of an architectural design is conceived in its potential to orchestrate requirements so they lead to meaningful articulations of space and tectonics. The specialisation tries to find answers on how computational techniques as well as physical processes are changing the methodological and strategic make-up of architectural design. This could only be done by embedding projective and analytical feedback into the work.
APD Specialisation Lead: Visiting Professor Mirco Becker Structural Design Consultant: Visiting Professor Mark Fahlbusch Studio Tutor: Moritz Rumpft Visiting Critic: Melike Altinisik
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Fine Line Engraving Artwork
Fine Line Engraving Artwork
2D Expoloration Selected Landscape Image Method: Line Engraving Student: Ankit Savla Date: 22/10/2014 Version: 1.0
APD - Trans-Scalar Diversity
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2D Expoloration Work in Progress - Stage 1 Method: Line Engraving Student: Ankit Savla Date: 22/10/2014 Version: 1.0
APD - Trans-Scalar Diversity
2D Expoloration
Work in Progress Method: Line Engraving - Stage 2 Student: Ankit Savla Date: 22/10/2014 Version: 0.1
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2D Expoloration Method: Line Engraving Student: Ankit Savla Date: 22/10/2014 Version: 1.0
APD - Trans-Scalar Diversity
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Histogram: Line Length
FINAL ARTWORK
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on Engraving Savla 014
Line Engraving 3D method
Orignal image
Perspective 1 10 APD 2014 /15
Perspective 2 2D Expoloration Method: Line Engraving Student: Ankit Savla Date: 29/10/2014 Version: 0.1
APD - Trans-Scalar Diversity
Perspective 3 11 TRANS-SCALAR DIVERSITY
Micro Climatic Articulations ACER PALMATUM ORNATUM (Japanese Maple)
The sample study- JAPANESE MAPLE 12 APD 2014 /15
General details: Botanical name: Acer Palmatum Ornatum Origin: From Japan Kind: Deciduous shrub Spread: 12-15 feet; Often shaped like an hemisphere/dome shaped. Height: 18 to 30 feet Trunk: Usually multi trunk at bottom, branches are droopy and showy. Leaf:
Crown:
symmetrical, round and weeping moderate density growth rate is slow texture- fine
Flower: elongated- 0.5 to 1 inch covering- dry & hard colour- red asexual
arrangement- opposite type- simple size- 4 to 12 cm in both directions margin- serrated, lobed (5 to 7) shape- star shaped venation- palmate colour- green to red to yellow
The sample study- JAPANESE MAPLE 13 TRANS-SCALAR DIVERSITY
Mapping the growth pattern of the specimen tree
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The Japanese Maple shows a very unique growth pattern. Unlike other trees in takes the longer route to reach a point. it wriggles like a snake. It shows a typical split of two branches of which one usually grows in the same direction and other deviates and spreads. It shows random instances of crossing over almost immidiately after splitting. 16 APD 2014 /15
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Growth of the tree trunk: splitting & crossing over
Instances of splitting and crossing over.
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Instance #1:
Instance #2:
Instamce #3:
The trunk splits into two, one part continues in the same direction as the parent and is more or less of the same diameter. The other takes a steep turn and starts growing is another direction. This is usually of smaller diameter.
The tree truck splits into two brances which generally deviate in the opposite direction with or less the same change in angle. Also both these usually have the same diameter which is slightly lesser than the parent.
The split tree trunk at times shows a tendency to cross over again and start growing in the others direction. At this junction sometimes they biologically fuse into eachother.
Diagrammatic representation of Instances of splitting and crossing over.
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Branch and Leaf system
A tertiary branch of the specimen tree. 20 APD 2014 /15
m. 8c m. 3c
33* 45* 28* 10* 45* 9* 63* 51* 76*
Multi lobed leaf of a Japanese Maple
cm 11
50*
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cm
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10
14 cm.
m. 36*
25*
14*
8c
23*
22*
m.
2c Dimensional aspects of a branch.
Dimensional study of a single lobe of the leaf. 21 TRANS-SCALAR DIVERSITY
Colour Study
Colour study of the tree trunk & its aesthetic change due to growth of secondary vegetation on its surface.
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Colour study: leaf which has just started to wither.
Colour study: almost withered tree leaf 23 TRANS-SCALAR DIVERSITY
Greeble
:: miscellaneous mechanical details that add realism to a prop, model, or set.
A greeble is a small piece of detailing added to break up the surface of an object to add visual interest to a surface or object, particularly in movie special effects. Greeble is essentially a surface treatment applied to the outside of space craft and occasionally other space objects (planets, floating cities, etc.). The purpose of greeble is to create the ruse of functionality and massiveness. It works to confuse scale, simultaneously giving the appearance of a circuit board and a city. But one important aspect of about greeble is that it’s only a surface level applique and by definition has no function i.e. is merely cosmetic. Application of greeble to ordinary objects to obscure their original uses. Later the challenge then became to push greeble out of the purely cosmetic and to endow it with more than optical performance. These compositions give them a stark, sci-fi, and atmospheric (almost reflective) effect, as if they were some kind of futuristic iconography. Some structures may resemble very utilitarian things such as ladders and windows, while others may be so abstract and detailed as to convey the sense of mandalas or stained glass.
Basic application of greeble
They serve no real purpose other than to add complexity to the object, and cause the flow of the eye over the surface of the object to be interrupted, usually giving the impression of increased size.
It is essentially the small detailed technical part of a larger object. The detail can be made from geometric primitives, including cylinders, cubes, and rectangles, combined to create intricate, but meaningless, surface detail.
Greebles are commonly found on models or drawings of fictional spacecraft in science fiction. 25 TRANS-SCALAR DIVERSITY
The timeline of the technique 1950s: Allen Ginsberg describes the perceptual impact of moving between contrasting colors as being an “Eyeball Kick.” That suggests all sorts of digital possibilities beyond just adding three-dimensional details to models, kit-bash style. 1968: The modeling team for Kubrick’s 2001 knew something about real spaceships – especially with NASA veterans Fred Ordway and Harry Lange onboard, who had worked with Werner Von Braun. The word for the use of the surface details: “wiggets”. 1977: Star Wars comes on the scene, covered in kit-bashed parts. To make ships look realistic, bare surfaces are festooned with pieces of model kits and even the odd plastic soldier – anything to break up the flat planes. Allegedly, Industrial Light and Magic model-makers coin the term “greebles” (or “greeblies”). You can read a superb 1993 Wired articl,e probing the depths of technique, modeling, and philosophy, by Rudy Rucker.
A still from the movie 2001: A Space Odyssey
Model making workshop of the Starwars space ships.
Battlestar Star Galatica
Interior from the Spaceship shown in Interstellar, 2014
1990s: Ron Thornton of the pioneering CG firm Foundation Imaging called their translation of the greeblies to digital models “nurnies.” Charles Adams, brought the same aesthetic and techniques to the 2004 (all-CG) Battlestar Galactica. Today: In 3D computer graphics, greebles can be created automatically by specific software in order to avoid the time consuming process of manually creating large numbers of precise, custom geometry. This can often be tedious, and repetitive work, and some consider it a task best suited to automatic, software based procedural generation, particularly if a great degree of control is unnecessary or the greebles will not be particularly large on screen. Most greeble generating software work by sub-dividing the surface to be greebled into smaller regions, adding some detail to each new surface, and then recursively continuing this process on each new surface to some specified level of detail. Similar algorithms are used in the creation of fractal surfaces.
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Kit bashing
The analouge model making of the Battle Star Galatica using Kit bashing.
A very popular method of adding greebles to a surface is Kitbashing. The designer takes various game kits like legos, scientific games etc. or opens up electronic toys and reconfigures the components of those through his own imagination. without purpose, they are just cool detailing that probably appear odd to the functional minded human eye. The term dates back to at least the 1970s, when it was used among cinematic special effects artists to refer to physical models used in the same way in the construction of props and miniatures. At that time, they were often made from kitbashed hobby models of battleships, tanks, and cars. Today, the term usually refers
to digital 3d models of this nature, which are created in the same manner as any other 3d model, but reused repeatedly to speed up the process of creating subsequent models. Kitbashing originally emerged from the hobby of plastic model building, and involves using pieces from multiple model kits, glued together in unexpected arrangements in order to produce objects that seem strange and otherworldly. This technique was adopted heavily by designers of 1970’s science fiction films such as Alien, Star Wars, Blade Runner and numerous other films that predate the emergence of digital special effects.
Digital kit-bashing uses 3D modeling software to deconstruct a digital kit and reconstruct a new model. 27 TRANS-SCALAR DIVERSITY
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Common examples of Greebling
Greeble used to visualize cities for movies.
Greebling machinic creatures.
Greeble used to visualize new clusters for Town Planning.
Embossed greeblies to give an illusion of hidden machine parts.
Special effects for movies.
Greebling terminators.
Greebling weapons.
Special effects for movies.
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Close references of Greebling in daily life
Second skin facade systems.
Non luminary pendants.
Chairs hung from celing just for aesthetics.
Historically used floral ornamentation of buildings.
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Sequence of Morphogenesis
::from the Greek morphê shape and genesis creation, literally, “beginning of the shape”
Stage 1- unit geometry
Basic Geometry: Truncated circular cone Central Axis: Planar Spline No. of units: Two Features: Unison, directionality 32 APD 2014 /15
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Stage 2- populating
Basic Geometry: Central Axis: No. of units: Features:
Truncated circular cone Planar Spline 85 approx. Segregration, population, directionality
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Stage 3- scalar diversity
Basic Geometry: Central Axis: No. of units: Features:
Circular Cone Planar Spline 165 approx. No trucation, scalar diversity, instances of unison, compact, some level of porosity, more directional
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Stage 4- 3D central axis
Basic Geometry: Central Axis: No. of units: Features:
Circular trucated cone 3-D Spline 75 approx. Scalar diversity, unison, collison, active system, compact, less directional, bulkiness.
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Stage 5- compact cluster
Basic Geometry: Central Axis: No. of units: Features:
Circular trucated cone & cylinder 3-D Spline 35 approx. Tectonic, scalar diversity, collison, active system, compact, less bulky, stranded.
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Stage 6- Greebling
Basic Geometry: Circular trucated cone, cylinder, circular cones for spikey greebles Central Axis: 3-D Spline & planar splines for spikes No. of units: 785 approx. Features: Scalar diversity, growing, collison, active system, compact, detailed, multi-system, instances of aggregation. 42 APD 2014 /15
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Greebling- a closer look
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Stage 7- fibrousity & multi system
Basic Geometry: Central Axis: No. of units: Features:
Circular trucated cone, cylinder, circular cones for spikey greebles, fibrous tubes. 3-D Spline & planar splines for spikes 1150 approx. Fibrous, collison, more active system, aggregated, compact, detailed, multi-system, porous
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Morphological development of a passive cone geometry into a multi layered, trans scalar, active system.
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VOID RESEARCH lotte world tower, seoul
Name of building: Lotte World Tower Location: Seoul, Korea Architects: Kohn Pedersen Fox, USA Current Status: 90 Floors completed Roof Height: 410 mts Spire Height: 555 mts
View of the Lotte Tower World and the complete Lotte World Mall
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Site layout Paln of the Lotte Tower World and the complete Lotte World Mall
Parametric conditions of the building skin 53 TRANS-SCALAR DIVERSITY
Voids could be a space that can be intimate or sublime, it is the formless field that allows things to dwell or move as well as the space in between or the hollow contained within. Robert Smithson
Amenity and recreational spaces were scooped out from the building section, following the idea of a typical Korean candle stand.
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Cognitive & Literal Voids marked in section
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Layout Plan Basement Entry Level 000
Layout Plan for Office/Hotel Lobby Level 001
Layout Plan Office Lounge Level 019
Layout Plan Office Amenity Level 042
Layout Plan Pool & Fitness club Level 085
Layout Plan Sky Restaurant Level 107
Layout Plan Hotel Event Level 079
Observation Decks Level 120
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full building
section through the tower.
Identifying void spaces in the Lotte World Tower 58 APD 2014 /15
building in section + voids
cognitive & literal voids
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STÄDELSCHULE ARCHITECTURE CLASS Staatliche Hochschule für Bildende Künste-Städelschule Dürerstrasse 10 60596 Frankfurt am Main T +49 69 6050 0869 F +49 69 6050 0878 www.staedelschule.de/architecture 60 APD 2014 /15