The primary objective of Audiotechne is to incorporate sound within the syntax of architectural composition so as to produce Audiophysical Semiotics . Audiophysical semiotics are simultaneous instances of form and sound which extend the agency of architectural space past pure signage (as applique) and on to sonically informed spaces which can express specific Self-Indexical audiovisual qualities. These qualities emerge as a result of this simultaneous instance of form and sound, registering as a new medium of significance. Within the medium of audiophysicality comes a new set of implications arises as to how significance can be delivered and perceived. A New Perceptual Ontology of architectural and spatial significance arises by necessity through the processing of form and sound as a unified condition, rather than form alone. Audiotechne's research traces a lineage through structures of ontological significance, specifically Gothic Cathedrals, as well as key architectural precedents from Iannis Xenakis in order to establish conditions of pattern, cadence, index, and procession. This research, in conjunction with notational understandings of ornament and strange merelogical relationships (prototypically tectonic) permit the development of a notational understanding of composition in the musical and architectural sense. This simultanous sensibility contributes to more than a legibility of multiple formal ontologies generated through sets of geometrical and sonic information, and onto a legibility of the audiophysical formation.
Transit, as an energetic process through a building, can yield programmatic and tectonic hierarchy. Its potential as an animator or catalyst of matter can re-organize the tectonic premise and constituent programs. Other than transit's intrinsic purpose of movement, it has secondary byproducts of time, sound, and visual complexity when observed as a phenomena. Complexity of audiovisual aspects are so that, if curated, can operate as a new set of tectonic and spatial qualities, the same way that architectural elements do. These qualities drive the conceptual intent both in the use of particular algorithmic systems, as well as specific audiovisual programs in the building. The object of this proposal is to create a cultural node in the Brooklyn Navy Yards, utilizing the program of a transit station that links the art and music (audiovisual) communities of Williamsburg and Dumbo. Through interdisciplinary algorithmic methodologies based partly in biology (slime mold stigmergy) and physics (structural path bundling from the work of Frei Otto), the project draws intricate structural lines in space, resulting in novel organizations of beams, columns, trusses, and enclosure. The architecture provides a space for audiovisual artists, in a variety of scales responding to curated performances as well as experimentation and collaboration.
This sculpture proposal for the Kravis Center is interested in combining aspects of the very heavy, monolithic, and historic, with the elegance, grace, and gestural qualities of music and dance performances. This proposal is unique due to the organization of the sculpture, providing a space of legacy in the center of the plaza site. Formally, the project is derived from a single folded plate, rotated three times, and adjusted to address different scales and create a small spatial experience. In this way, the sculpture functions not just as an object on the site, nor an obtrusive spatial intervention; it preserves the facade and main plaza. Additionally, the design of the ground was integral in the formation of the sculpture; intricate tiles build in intensity, becoming smaller and richer near the base of the sculpture, culminating in the three folded monoliths that reach up to the sky. These components achieve a weightless quality to them, seemingly floating in mid-air above the Kravis Center plaza, especially at night when the glass holding the pieces is even less visible. The focus of the sculpture is the donor names. The legacy and display of these names are integral to the conceptualization of the monoliths, with names on both sides. Furthermore, the main Helen K. Persson plaque is a highlighted element, in the foundation of the sculpture. At night, it glows even brighter than the intricate ground lighting, emphasized as a primary focal point. Super High Performance Concrete and tempered glass are the proposed materials to achieve a very thin, extremely strong structure, allowing the qualities of concrete to appear very light.
The intent of the research was to impart a multi-agent system with non-familiar behaviors in order to create a highly volatile drawing machine. While stigmergic behaviors were the basis for the agency of the system, other agent behaviors were encoded in order to create local anomaly which could contribute to new global order and composition. Annotating behavior through time was another agenda of the research, utilizing color to register time (generational) as well as local density (agent interaction). Another intent of the research was to maintain a dialectic relationship between algorithm and a 6-axis robotic arm in order to materialize and draw in 3D space, rather than to simulate it. The research favored the contradiction of immateriality in physical space; instead of using the generative drawing as a set of toolpaths for extrusions (non-standard 3D printing, the drawing was treated with the same precision that the algorithm produced. Registering these drawings with the desired contradiction was done through long-exposure photography of a light attached to the end of the robot's arm, producing 3D light drawings captured in physical space. This contradiction provided the feedback between what could be drawn, and what could be visualized. This particular research was applied to EXOL[I]NEA, as a non-linear structural optimization algorithm, producing ornament and architectural organization in conjunction with the stigmergic structural paths.
//.ign[o] rhizome
//.ign[o] rhizome
NEIGHBOORHOOD THRESHOLD: 50 GENS COUNT: 500 ORGANIZATION: STIGMERGIC 3D+RECURSIVE BUNDLING
The project conceptually situates itself as a product of inherited flows of the site. These flows define a rigid grain that influences firstly the organization and angling of the boats, and in turn the structural grain. The grain then translates to a sleek, dark form thatdraws from the carbon fiber of the boats as well as the speed of rowing in the water, with the intention of finding a form of permanence within the site. Furthermore, the building is lifted up, elevating all programs except for the boatshed, allowing for parking underneath a soft underbelly which composites structure, mechanical, and spatial qualities. Finally, a fissure tears through the monolith, generating a spatial chasm that culminates in a roofdeck outlooking the water and exposing the pedestrian to the intricate multimaterial skin. The skin is composed in part of blue and charcoal concrete panels, photovoltaic panels, and glazing units that are arranged at varying depths within the facade, culminating in a rich and detailed organization with varying properties.
1 2 3 4 1
2
DEEP TRUSS + 3 COLUMNS
3
FLOOR BEAMS + FRAMING
4
GRIDSHELL BACKING FOR UNDERBELLY
THICK PLENUM MECHANICAL
///SECTIONAL.PERSPECTIVE+UNDERBELLY.SYSTEMS///
When defining a taxonomic arrangement of biological extracts within an architectural/formal context, there are properties that are Intrinsically non-bio-mimetic. While these properties are rooted in their biological constituents, they are a subjective observation of a percieved architectural object. These objects seek transformation, and therefore evolution; series of re-arraying, duplications, and new and synthetic aggregations of base state formal genetic material that is contained in the biological precedent. The genetic base state of this formal research will inform in many ways the genetic evolved state of the unit, or reducible part of the research trajectory, however the organization of the form and matter will intrinsically be a mutant or deviant from perhaps the existing system, or an alien system. An introduction of an alien system of organization can pollute the existing logics of the biological precedent in order to form an authored architectura synthetic, with logics and functions of architectural space and ergonomic capacity, according to the shift in scale. Interest in algorithmic drivers deployed as an organizational strategy can present a variety of possibilities in terms of polluting the system, and further mutating to produce new forms of emergence, prefaced by the original biological precedent. Instead of a certain form that is derived from biological or formal parametric constraints, an algorithmic strategy can embed rules in order to produce a highly differentiated and specific form and design solution to an architectural problem.
The first basic transformation utilized in this scheme employs a perspective shift in the formation of the architecture, allowing discrete objects to take on non-discrete properties. The balconies are a continuous membrane that wraps and interjects the main envelope enabling facade-topological circulation. The push/pull of this membrane also differentiates the facade into a series of staggered components embedding new programmatic pockets and hierarchies within the twisted massing. Furthermore, the slab conditions of the interior spaces begin to fold up and down, become oblique and break away from otherwise pure horizontal datum, generating a series of submerged and embossed conditions blurring datum to datum and carving new public zones. The slab distortions react to one another vertically, enabling single-height spaces, half-height spaces, and larger-than single-height spaces to be nested consecutively within single-height spaces. Another important manipulation is the oblique demising line, facilitating the fluidity between rooms, both in terms of circulation, program accumulation, and shared use space within cells. All of these transformations operate within the guise of the "twist", generated as a result of objects pushing out on a membrane and shearing extremities, resulting a varied nonCartesian circulation along the balcony membrane that wraps around the entire building. Projection plays an important role in the genesis of formal manipulation as well as the production of social phenomena. The slab, coupled with the oblique demising walls project out to form a combination of their separate programs of occupation and limitation, producing at once programmatic autonomy and selective circulation to the facade's set of interconnected balconies. Projection of materiality is given autonomy; calibrated by the occupant, the unit facade's opacity can be adjusted according to preference. Finally, the eroded spaces in the backyard provide amphitheatric zones where literal projection of media, film, or music can occur.
The notion of a digital archive instantly begs the question of information, and its properties; its form, behavior, organization, movement, circulation, and its embedded and potential intelligence. Architecturally speaking, a physical manifestation of an otherwise amorphous or perhaps mysterious concept/form must often be otherwise formally significant and clear in its notion of manifestiation. The procedure of deriving said form utilizes a series of organizational techniques that are in turn, appropriated by the necessity of relationship to the nature of information as it applies to the archive, more specifcally, scripted and generative logics driven by the organization of information and matter as they apply to the organization of digital information and matter. While ideas of network and cloud information are often faceless and anonymous at times, this project seeks to utlize this anonymity as an advantage to transform this constraint into a vehicle to facilitate public research and information interraction. This in turn, transforms the networked form into not a mass of information, but enables a higher intelligence of an interface, in which its' inhabitants and users activate and produce the information that may circulate and organize. The network transcends the part-to-whole stochastic aggregation, in favor of a holistic programmatic and spatial relationship, affording a series of coagulated-matter hubs of space, embedded within and throughout to disperse a variety of scales in which research can be conducted, information circulated, and experience shared. As people meet, as lines organize, as matter coagulates, the //.cru[x] of this project finds itself in multiple moments of
//.NE[X]US.
coagulated network
coagulated network
vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(stPt,vec))
coagulated network
#vertex1 endPt-z+x vec = rs.VectorAdd(endPerpframe[1], rs.VectorScale(endPerpframe[2],-1)) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(endPt,vec))
#vertex2 endPt-z-x vec = rs.VectorAdd(rs.VectorScale(endPerpframe[2],-1), rs.VectorScale(end vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(endPt,vec))
#vertex3 stPt-z-x vec = rs.VectorAdd(rs.VectorScale(startPerpframe[2],-1), rs.VectorScale(star vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(stPt,vec)) #vertex4 stPt+z+x vec = rs.VectorAdd(startPerpframe[2], startPerpframe[1]) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(stPt,vec)) #vertex5 endPt+z+x vec = rs.VectorAdd(endPerpframe[2], endPerpframe[1]) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(endPt,vec)) #vertex6 endPt+z-x vec = rs.VectorAdd(endPerpframe[2], rs.VectorScale(endPerpframe[1],-1)) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(endPt,vec)) #vertex7 stPt+z-x vec = rs.VectorAdd(startPerpframe[2], rs.VectorScale(startPerpframe[1],-1)) vec = rs.VectorUnitize(vec) vec = rs.VectorScale(vec, min + (max-min)*factor) vtxs.append(rs.PointAdd(stPt,vec)) arrFaceVertices = [] arrFaceVertices.append([0,1,2,3]) arrFaceVertices.append([0,4,5,1]) arrFaceVertices.append([1,5,6,2]) arrFaceVertices.append([2,6,7,3]) arrFaceVertices.append([3,7,4,0]) arrFaceVertices.append([4,7,6,5]) rs.AddMesh(vtxs,arrFaceVertices) def Main():
lines = rs.GetObjects("select the lines to thicken", rs.filter.curve) max = rs.GetReal("please type the maxium diagonal distance from the cente min = rs.GetReal("please type the minimum diagonal distance from the cente attrIDs = rs.GetObjects("please select the attractor points", rs.filter.point) attrs = [] for attrID in attrIDs: attrs.append(rs.PointCoordinates(attrID))
lengths = [] minLength = 500000