E+M
DESIGN STUDIO
Evan Emery
Southern California Institute of Architecture M. ARCH II Gateway Portfolio : 3GAX Selected Work: 2011-2012 Š2012 All rights reserved. No part of this book may be reproduced in any form without written permission of copyright owners(s)
E+M
DESIGN STUDIO
TABLE OF Contents INTRO FALL 11-12 2GAX | 8 DIS[FIGURE] | 16 FABRIC FORM | 20 THEORY [ROBOTICS] | 26
SPRING 11-12 2GBX | 30
FALL 12-13 3GBX | 38
THESIS
INTRODUCTION
The following work is situated in a school (sci-arc) that allows me to explore my architectural interest without the pressure of traditional thinking. The ability to do so has allowed me to explore both my technical and esthetic interest to the furthest extent. The following work is the product of exploration not consistency. The work is generally focused on a particular technical challenge that I find interesting. And through the exploration of that comes a design that merges many different disciplines and fields. The use of specific digital technologies allows for rapid design and subsequent redesign(s). In particular the use of (scripting) as it were, allows me to create complex networks of geometry. The true design challenge is the ability to have control over these complex geometries. Furthermore the means of representation are being rapidly changed. The use of color 3D printers has allowed for patterning and color. Also the development of robotics has brought the means of representation into the fourth dimension. By displaying the digital information on a dynamic physical form one can understand both systems simultaneously. This understanding allows for real-time feedback as well as form that enters the 4th dimension. One can imagine using this tool to create free form geometry that is not limited to the flattening of current representation methods. This free form geometry could contain dynamic qualities such as material stress to aid in formal decisions. While this particular experiment may seem to be a playful in its presentation the conceptual understanding allows for interesting formal possibilities. The idea of a drawing is no longer a linear process, you don’t have to start with a drawing and produce an object.
2GAX 2GAX FALL 2011 Complex Morphologies: Incongruous Figures Instructor: Florencia Pita Through the exploration of the optical artwork of Bridget Riley the formal lanugaue of the figure begins to be blured. The visual perception of form speaks as an emergying ontology. Through the use of geometric ajacency along with visualy complex patterns the network of geometry begins to read as a single entity.
REFERENCES
01
Hella Vase Designer: Hella Jongerius Year:1993 The form of an antique vase is re-moulded in soft polyurethane. This creates geometric guiding lines on the surface.
02
Catarct 3 Designer: Bridget Riley Year:1967 The use of repetition to create the effect of movement and three dimensionality. Creating the illusion of form through patterning.
disFIGURE disFIGURE FALL 2011 Visual Studies : disFIGURE Instructor: Elena Manferdini -Evan Emery + Varouzhan Torosdam
The work of the class as a whole will critically participate on the current debate about the state of technology for the production of architecture, and will question the ideological and formal implications of various digital representational modes. The seminar speculates that contemporary surfaces have the ability to breed new sensations and seeks to extend the effective potential of surfaces, focusing on issues of material, chromatics and their relationship to relief. During the first part of the semester students will conduct a series of highly focused experiments dealing with the relationship between geometrical relief, coloration, surface treatment and materials. Students will explore the way in which texture and color is reflected and refracted throughout matter: as painters utilize particular techniques of contrasting scales of luminosity and texture through brush stroke to invoke volume within the two-dimensional pictorial frame, the class will look to this medium for its methods of capturing and materializing light deep within the compositional and material qualities of the painted canvas. The class as a whole will compile a Still Life Collection of floral dis/ figures. During the second part of the semester the class will focus on fabrication from digital models. Students will create a feedback loop relationship between the form of analog and digital matter, establishing a rich geometrical and material vocabulary. Students will learn how to design with developable surfaces in Maya and unfold them in Rhino. -Elena Manferdini, disFIGURE Publication
Fabric Form Fabric Form FALL 2011 AdvanceTectonics
Instructor: Marcelo Spina -Evan Emery, Benjamin Farnsworth, Ryan Tyler Martinez, Makenzie Murphy, Stefano Passeri
We began with an conceptual iteration from Maya, produced before material testing. As it turned out, the relationship between latex and poured plaster produced unexpected results quite different from the idealised digital version We began exploring the potential of pouring a thick solution of water and plaster into the membrane. These tests, realised with nDynamics and finished off in Rhino, consider a play between bulging flexible material and creating a sense of constraint through more rigid components. The next stage of testing involved a more complex system. Because of the relative success of the glove as formwork in the previous test, we decided to keep it for the time being. However, whereas the first iteration was limited to the individual glove shape, the second introduced connections between gloves. This simple addition brought about a considerable layer of complexity and an idea of network that was interesting, but much more difficult to control. The third and final iteration sought to condense and rationalise the discoveries from the previous tests. Although the final object was difficult to extract from the latex and eventually broke, at this stage we gained a considerable amount of control over the material and processes compared to the initial output. The final formwork included a three arm membrane to be poured upsidedown - eventually ,it should have been interpreted as a dome-like structure, also suitable for a modular production. Final pour within the formwork. It can be noted how the flat ends of the three legs would be suitable for assembly in a modular fashion. Turning the object upside-down in the desired orientation would create an unusual effect by means of inverting the visual effect of gravity. The most bulged parts would e at the top and sit on thinner legs. -Fabric Form Publication
• Invesitgating possible formwork assembly options suitable for the process.
3
3
WOODEN / METAL FRAMING
FABRIC FORM RIGID / NON FABRIC CONNECTIONS
FABRIC FORM
TENSION CABLE ARMATURES
FINISHED FRAME WORK
nvesitgating possible formwork assembly options suitable for the process.
TYPICAL FABRIC BEFORE CASTING
REACTION TO FORCES BROUGHT ABOUT BY CONCRETE CAST
ADDITIONAL INTERFERENCE INTRODUCED BY ADDING TENSION ELEMENTS
• Compositional example of the same process realised with nDynamics.
PROCESS PROCESS PROCESS
41 42
57
PROCESS 41 42
58
LINE STITCHING
CROSS POINT STITCHING RADIAL STITCHING
FINAL CONSTRUCTION
TOP FORM BOTTOM FORM
INTERIOR STITCHING
PERIMETER STITCHING
63 64
Details of the final pour after the extraction from the formwork. Even though the
4D Design Paradigm Theory FALL 2012 Theories of Contemporary Architecture I Instructor: Marcelyn Gow
Preface While robotics has been widely accepted as part of manufacturing process it has yet to be broadly used as a design tool. As architects in a society that accepts technological advancement; interestingly many depend on only design tools of the past. While most use advanced software and rapid prototyping as part of their current workflow there has yet to be large-scale implementation of advanced hardware design tools (robotics). While the open source community for the “maker” movement has allowed for individuals to establish themselves, it has attracted less attention than the aforementioned rapid prototyping methods. This in tern pushes for an understanding of the 4D possibilities of synchronous robotics as a kind of formally generative motion. Within this design paradigm there is the possibility for open source development that promotes specialized hardware and software tools focused on free form design. Free form design implies not only the ability to freely articulate form but the theory that the work should be shared and built upon. This new way of thinking will progress our sociopolitical understanding of the design process and allow for the exchange of ideas throughout the design community.
History To further understand the possibilities of 4D synchronous robotics we must look to the pre digital; the underling interest of motion and how it pertains to architectural formal development. Early examples examine photographic techniques that attempt to display dynamic form (motion) within a static medium. Etienne Jules Marey in “A Passion for the Trace” begins to embed the inscribed motion of dynamic bodies within a single representation method. In particular the bronze cast of birds in flight begin to explore the 4D qualities of form and how it can be dynamically represented.
This is particular important to realm of 4d synchronous robotics because it is physical manifestation of motion. The manifestation through a static medium does create the autonomous singularity that is the photography. But within this is the essence of motion and dynamic form that attempts to move from the third to the forth dimension. While Marey’s work is primitive in technique, his work is an early example of the formal manifestation of motion through a formal logic. While we have the ability to represent motion, we as architects and formal designers are always implying dynamic qualities. But these can be “baked” down to key frames or states of the motion that then is interpolated by the viewer. Contrary to this is 4d synchronous robotics that allows for all of the aforementioned qualities without the need for interpolation. The dynamic form is no longer an instance of time that is representational of the dynamic, but the pure representation of dynamic form itself.
Social The development of the Sci-Arc’s Robotics and Simulation Lab has been dependent on the open source availability of previous workflows. It has been said that open source development can be thought of as the third industrial revolution. This is largely due to the current counter culture that exists within much of today’s youth that attempts to take power away from large corporations an put it back into the hands of the individual. This way of thinking promotes the sharing of ideas and the building of processes upon previous work. Though “Creative Commons” developed and founded by Lawrence Lessig, we as designers are free to share and collaborate easier than ever.
This collaboration allows for custom design tools to be developed for specific design tasks. This new business model changes how we as society perceive intellectual property, not as a commodity that is only accessibly to few, but as tools for the groundwork of future developments. This social change has allowed for students at Sci-Arc Robotics and Simulation Lab to develop custom 4D robotic workflows that are specific to the design task. This sharing of ideas allows for custom hardware and software tools to be developed and progressed, as the formal design requires. Therefore bringing the design process with synchronous robotics closer to real time dynamic formal development.
Community This new “maker” community is discussed by Massimo Banzi (the founder of Arduino) in his TED talk “ How Arduino is opensourcing imagination”. He points out that the development of low cost open source hardware has sparked a DIY movement.
This in particular is largely due to the short learning curve associated with the open source hardware and software solutions. This in turn allows for an individual to develop his or her own tools without a background in electronically engineering or programming.
Prior to this model to develop the kind of knowledge required for this type of development one would have to spend 4-6 years in formal educational training. By decreasing the amount of time required to develop custom tools the designers that require them now produce the tools themselves. By cutting out the corporate software companies the end user is also the developer. As you can imagine this has many advantages including instant user feedback that then influences the development
Collaboration Alongside the DIY open source community there has been a push socially to allow individuals the opportunity to market their ideas. With the rise of “kickstarter” the move away from corporate reliance begun. This platform for the sharing and marketing of new innovative design allows for more specific products to be developed. How does this new means of product development and marketing relate to the topic of architectural innovation? The culture that architecture is developed within becomes a microcosm of social atmosphere of the times. Therefore the open source revolution has influenced the workflow of designers in a way that allows for highly specialized design environments. One of many of these specialized design environments is the Sci-Arc Robotics and Simulation Lab. Eric Owen Moss speaks about the idea of bringing in robots as a way of scrutinizing the current system; the speculative in which we can define the performa on our own terms. This way of thinking expressed by the counter culture that is Sci-Arc shows the change in how we as a society are moving toward open source as common collaboration as opposed to the rarity of which it exist in todays corporate world.
ESTM With all of this collaboration the Robotics and Simulation Lab at Sci-Arc allows, the robotic tools are specific to each projects design criteria. The tools of past students get passed on and built upon each semester. While the Particular projects may develop as an Ad Hoc process, with tools being created at they are needed, much of the groundwork is built upon the custom software (Esperant.0) developed by Brandon Kruysman and Jonathan Proto. This environment is unique in which it allows for motion to be designed within the digital environment that can then by physically replicated. By creating a custom workflow the design possibilities are not limited to integrated software of the Robots themselves. The workflow then becomes an open source pipeline that is only limited by the designers themselves. Furthermore creating a free form design environment that can adapt to the needs of the dynamic formal body. This adaptation can take many forms including fabrication methods, representational techniques, and custom design environments/platforms. These methods manifest in different materializations through the following projects
Furthermore the physical object can be 3d scanned with an open source point cloud library that has been developed. This point cloud date can then by used to feedback into the system. This feedback loop connects the physical manifestation of the form back into its digital source. Therefore the physical begins to influence the digital in a way that merges the two systems into a single dynamic network.
Representation: ESTM Collaborative
Fabrication: Phantom Geometry
Team: Peter Kaoud + Eugene Koscoron + Jonathan Proto + Brandon Kruysman Team: Kyle Von Hasseln + Liz Von Hasseln Phantom Geometry allows for light to be materialized to create form. This in turn allows for the synchronous robotics to create form and materialize it at the same time. Therefore freezing the digital dynamic system in time thus materializing it into the physical. This materialization is nonlinear therefore the form itself could be perceived to be in a constant state of development. Even though the object itself can be perceived to be static the possibility of rematerializing makes it dynamic in nature. This post digital real-time dynamic form speaks to the theory developed within Etienne Jules Marey in “A Passion for the Trace�. In which motion can be perceived through a static medium. While the object itself is static, the motion or dynamics are embedded within the fabrication process that allows for re-materialization of form
This experiment while simple in its formal exploration begins to connect the digital and physical in real time. By displaying the digital information on a dynamic physical form one can understand both systems simultaneously. This understanding allows for real-time feedback as well as form that enters the 4th dimension. One can imagine using this tool to create free form geometry that is not limited to the flattening of current representation methods. This free form geometry could contain dynamic qualities such as material stress to aid in formal decisions. While this particular experiment may seem to be a playful in its presentation the conceptual understanding allows for interesting formal possibilities. The idea of a drawing is no longer a linear process, you don’t have to start with a drawing and produce an object.
The robotic environment can be thought of as the “drawing” itself in terms that it exist as both the physical and digital manifestations. By allowing this new interface to occupy both roles there is a possibility to remove the digital model entirely, therefore clasping the gap that currently exist between digital and physical in current representation methods. (See Figure 3) The motion of form can exist in a real time design environment with the methods developed by project. While current representation methods allow for dynamic qualities via animation. These exist purely as digital manifestation of the perceived physical application. Further distancing the digital and physical design environments and separating digital and physical form. The synchronous robotic process allows the representation method to exist both digitally and physically simultaneously. Bringing the perceived three-dimensional into the realized four-dimensional. This may be a representation method but its implications exist as contemporary design esthetic. The ability to display digital information within its physical manifestation allows for post process workflows including dynamic projections. This contemporary esthetic is closely tied to its means of production, but is unique to the synchronous robotics design environment.
FIN.0 is a design platform comprised of repertories of robotic motion, material logics, tool customization and real time cinematic techniques networked into a dynamic interface that allows for the design and evaluation of dynamic surfaces and the motion of form. This approach to synchronous robotics allows for the collaboration between the robots themselves. By connecting to dynamic form to multiple robotic end arms the system can take advantage of simultaneous synchronous movements. This in turn extends the single 7-axis robot to a network of joints, which can be controlled both digitally and physically. Through this collaboration the design platform allows dynamic spline interaction. This design environment can be considered a post Nurbs and Polygon workflow that has material qualities embedded within the system itself. The platform allows for human interaction with the curves in the physical world, therefore allowing designers to visualize the formal qualities of specific curve types. This is particularly useful in car design in which the splines designed give the form its emotion and sense of motion.
Design Environment: FIN.0
Team: Evan Emery + Andrew Kragness + Nickolas Barger + Rangel Karaivanov The development of the design interface begins with the analysis of BMW Gina as a means to formally situate the platform. Gina innovates conventional car design not by the use of fabric per se, but by the idea that dynamic form is able to produce multiple characteristics and express a variety of emotions; Similar to the dancer where the body acts as the generic basis for multiple expressions that are defined through choreography. The interest in this motion is not limited to its interpolation between state A and B. But rather the representation of a moving forms by the aggregation of single positions. In the relationship between the moving elements, they’re rhythm and the potential for multiple expressions within one form. Therefore the design environment can be thought of as the choreography of dynamic form.
Along with the physical interface that Fin.0 provides we developed custom digital tools that are specific to the SciArc Robotics Lab. These open source tools were built upon Esperant.0, which has been an ongoing collaboration effort headed by Brandon and Jonathon. Being that the robotics lab has a physically accurate and completely dynamic digital model, we built upon this platform. With the addition of dynamic splines that can be visualized within the Maya viewport, the designer gets real-time feedback of spline information. This digital feedback works synchronously with the physical interface to attempt to bridge the physical and digital The use on cinematic techniques such as mirroring and postproduction visual effects allow for the single surface to be replicated and manipulated. (See figure 8) This manipulation can be referred to as the “Real-Fake”. With this technique the designer can compare spline motion in real time to make esthetic decisions. (See Figure 10) On the contrary by mirroring the form in the opposite direction the form begins to exist as a body. (See Figure 9) The body begins to imply volume to the otherwise surface manifestations. While these exist only as on digitally manipulated images, the limitations of the hardware (robotics lab) are no longer an issue
2GBX 2GBX SPRING 2012 GENERATIVE MORPHOLOGIES : DEEP SURFACE Instructor: Tom Wiscombe Evan Emery + Varouzhan Torosdamy Started from investigating certain aesthetic and architectural qualitative values within a series of 2d drawings derived from a digital scripting software . After some manual modification in the script, certain qualities were achieved, that were based on the initial drawing, next step was to transit those drawings into a 2 ½ D surface and from there forth, into a project scale proposal on a corner site located in west Hollywood California. We tried many different approaches including warping the 2 ½ D surface around the programmatic generic volumes, but eventually decided it best to start applying some certain features [some of which are as follows: Specific Edge network system, Deep pleats, de-lamination, face transition, and etc] from the 2 ½ D surface to a Primitive such as a cube. After some versions we agreed upon mutilating only a corner or one side of the cube rather than the whole object. In order to create an open public plaza, we decided to lift the cube off the raised ground condition in order to open space on the ground level . As a direct result of this move object would barely touch the ground; only through some edges and points, which along the cloth like surrounding edge network and the deep caverns , razor sharp meandering edges , nested hierarchies within the dome like negative inflations in the bottom surface would create a mesmerizing effect as one would experience in major middle eastern mosques under their domes. In order to maximize the desired effect we decided to reflect our initial drawing from bottom to top of the building contrasting the very formation of the object itself.
Deep Surface
Formal [Features] Analysis 01
PRIMitive [test_02]
PRIMitive [test_01]
F1 [edge network]
F2 [Deep Pleat]
F3 [De-Lamination]
F4[Nested Hierarchy]
C1[Face Transition] Corner
3GAX 3GAX FALL 2012 Robot Lab : Reel to Reel Instructor: Peter Testa Evan Emery, Andrew Kragness, Nickolas Barger, and Rangel Karaivanov Fin.0 is a design platform comprised of physical repertoires of robotic motion, material logics, tool customization and choreography networked into a dynamic interface. This interface allows the robotic motion to extend from 6 axis into an additional multi-axis network to design formal morphologies of continuous surfaces to exploit surface interference, or otherwise thought of as “corrupt geometry�. The interface of jitter is founded on three components of customization that are fully integrated and selfdeployable: robotic control, material control, physical and digital crossover. Robotic control uses forward kinematics or inverse kinematics to sketch and produce developed design schemes. Material control is comprised of rigid and flexible extrusions draped with flexible textiles to produce the continuous surface. Lastly, the physical and digital crossover is the hub of the interface that allows for a feedback exchange to develop and deploy design concepts.
THESIS STATEMENT
Architectural Cinematography The current means of design paradigm lacks the consideration for the modification of visual perception of form. In particular the “tricks” that we see in the field of cinematography. In cinematography the space being viewed through the lens can be manipulated. This manipulation changes the viewer’s perception of a form; this gives the cinematographer control over the emotions of the viewer. Here lies the connection to architecture; by understanding these “tricks” we as designers have the possibility of using them to change the perception of space and form. This becomes more interesting when you begin to think about other ways of changing the perception of form. In particular my interest lie in formal patterning that can change your geometric perception. This is found in nature, as many animals have developed patterning to break their silhouette. This can then be developed as a way of being geometrically referential or geometrically conflicting. This can then be tied back into artwork that can create the perception of form without existing in the third dimension. In particular “Bridget Riley” has developed a method of using repeating lines that very in thickness to create the illusion of three dimensionality. This method can be developed as a method for formal expression. I have explored the idea of this in the past, with varying success. The thesis shall not be limited to patterning form, but more so explore the opportunity to change formal qualities through a visual medium. The example of this in film is Alfred Hitchcock’s method of camera movement. By moving the camera through a closed* windows on a single cut, he was able to create the perception of freedom of movement. Suddenly the formal identity of a home became less private. Another example of this is the “push pull” effect, by moving the camera closer and zooming out a lens at the same time you are able to change the perspective of the background separate from the foreground; Thus creating a “warping effect”. The thesis shall focus on the many possibilities that we as architects can take advantage of through the visual/perspective medium; and how those techniques can be used to influence the formal understanding.