Portfolio by Lennard Ong

Lennard Ong

B.Arch

Southern California Institute of Architecture

Portfolio 2006-2010

(www) http://lennardong.info (@) lennard.ong@gmail.com (ph) +01 (213) 537-5102

*note: high-res digital or physical copies of portfolio available upon request

Contents

X-Lab3.0

** Center for Experimental Scentology

B reeding Breeding reeding ngg G Ghosts Ghosts hostss iin n the thee M achine Machine

This project is to be understood as an ecosystem: a complex assemblage of materials, networks and ecologies that compete and influence each other. Moving away from an anthropomorphic world view, unfamiliar actors - bees and humans living in a cloud of plants- are used in the agency of design. The brief was to develop a project centered around the theme of perfume anywhere on the island of Fogo, Cape Verde.

Without any external variables, design is explored through the schitzophrenia of implicitly irrational, via drawing, narrative and metaphor, and the explicitly rational, as code and processes. The experiment concentrates on the iterative, non-linear relationship between these two extremes. The vehicle for this experiment is an urban project sited on the island of Singapore.

It is an experimental parfumerie that mixes biological matter in unanticipated and accidental combinations to breed new olfactory sensations.

Vertical Studio II Southern Californian Institute of Architecture Spring 2011 Instructor: Peter Testa Assistant: Jonathan Stahl

B.Arch Graduating Thesis Project Southern Californian Institute of Architecture Spring 2011

Instructor: Peter Testa

Team Members: Lennard Ong, Dan Cuadra, Baptiste Bernard and Nicholas Ross

Instructor: Devyn Weiser Special Advisors: David Bergman, Emily White



pg 7 - 22

Monsieur Hulot

This project orchaestrates fluid trajectories that act as a continuously differentiated boulevard, crossing view lines across and through each other. The project brief is for an integrated office/manufacturing and retail space for American Apparel.

Skinny Livin’ is a high density housing proposal that addresses the sociology of space.

BLOX

A flexible-finger unit parti spanning 10ft in width accomodates a diversity of lifestyle types Maximizing surface area to volume in the residental unit to allows for more light and wind in, and views out to open the spaces.

(the blob in the box)

The site is a large field by the CA-110 freeway. A compact residential mass with a cafe overlooking the freeway leaves the rest of the site to become a large green community space: a much needed contribution to the aspalt jungle of Los Angeles.

An investigation on the existing forms of public and private space in the typology of skyscrapers and research into large scale developments and instant cities in South Korea became the drivers for the project.

Core Studio II Southern Californian Institute of Architecture

Instructor: Greg Walsh

This is done through the extensive use of scenario planning, physical toolhead design, custom scripts and animation software as simulation tools to develop the project in anticipation of real-world applications.



Our final scheme is a jigsaw of the initial research findings and and the constraints of the site and brief. Southern Californian Institute of Architecture

As a single-semester undergraduate participant in the X-Lab 3.0 program, the studio became a way to think about design through materials and fabrication techniques.

pg 47 - 62

Skinny Livin’

The Salvation of Monsieur Hulot is concerned with disintegrating verticality.

X-Lab 3.0 explored the design potential of SCI-arc’s Robotics and Simulation Lab.



pg 23 - 46

The Salvation of

SCI-arc’s X-Lab is a post-graduate initiative that studies emerging systems and technologies in a protoarchitectural environment.

Our team focused on the implication of rheological materials in robotic construction.

The goal of this thesis is to innovate an independent design methodology for future projects.

My proposal - The Center for Experimental Scentology - is a machine that misbehaves.

Vertical Studio I Southern Californian Institute of Architecture Summer 2010

Breeding Ghosts in the Machine is a experiment in design methodology.

Rheologic

Architectural Projects

Vertical Studio I Southern Californian Institute of Architecture Summer 2010

Instructor: Marc Frohn Collaborator: Mike Harrison

Instructor: Emily White Collaborator: Christine Forster



pg 64 - 74



pg 75 - 88

An Open Appeal to China 1st Runner’s Up, Architects in Mission IDEAS competition Open Category

Team: Gaho Lui Lennard Ong Yaohua Wang Scott Chung

pg 89 - 100

Appendix: Statement + Curriculum Vitae

This is an adaptive reuse proposal for a old cluster of buildings located within the Central Business District of Beijing, China. Our proposal converts it to an artist production/exhibition space. Sectionally, it is literally a “total cross section of the arts”. Design method is a literal interpretation of three words: Pry, Inject and Twist. Pried buildings are injected underneath with different ‘Pads’. Motors allow them to twist and rescript their relationships. Depending on the type of art shown, the facility can function on a spectrum: from single islands, to continuous continent, depending on the degree of twist.

Lennard Ong Ee Wen email: lennard.ong@gmail.com contact: 213-537-5102 online portfolio: http://issuu.com/llennard/docs/portfolio

“If It Ain’t Broke, Break It” (with apologies to Eric Owen Moss.)

We were awarded 1st Runners Up in the Open Category of the Architects in Mission competition.

I believe in seeing the world differently. One part of this difference is in the embodied experience of the senses: it is a cipher that decodes our reality. The other part is the knowledge required to interpret this, filtered through what we know we know, and what we know we don’t know. I have faith architecture is a cipher that helps us to decode a different version of the same reality. It makes tangible qualities that cannot always be quantified or justified. I also have faith that architecture is a critical tool to prod, poke and provoke existing assumptions. It is a confrontation with what we don’t know we don’t know, or what we thought we knew but don’t know.



It is the rational pursuit of irrational ends: a way to see things differently, to making things differently.

 Architecture Association / Summer 2011 / San Francisco, California Biodynamic Facades Workshop Southern California Institute of Architecture / 2007 - April 2011 / Los Angeles, California B.Arch Graduate National University of Singapore / 2006 - 2007 / Singapore B.Arch Year 1, Dean’s List

 2011 2010 2010 2009 2008 2008 2007 2006

Economic Analysis (Urban), MR+E, Los Angeles/California Gallery Installation, Lenticularis by HitoshiAbe, Los Angeles/California Researcher, Curry Stone Design Awards Professional Internship, Frohn&Rojas Architects, Berlin/Germany Interior Design, Office and Lecture Space for ImageWorks Asia, Singapore Professional Internship, Ministry of Design Architects, Singapore Professional Internship, Shaetzarchitektur, Singapore Stage and Set Design, A Bedroom Farce, Singapore

 2011 - 2010 2010 2010 - 2008 2010 - 2007 2009 - 2007 2009 2005 - 2004 2005 - 2003

Public Lecture Series Coordinator, Southern Californian Institute of Architecture Videographer, “Blaxium Schemata” for a team of Graduate Researchers, Exhibited in SCI-Arc Gallery ArchInterview Series, www.archinterview.com, collaborator: Yaohua Wang Media Specialist, SCI_ARC Audio Visual unit Librarian, Ray Kappe Library Fashion Photograher, Los Angeles Fashion Week Event Coordinator, Singapore President’s Charity Event Fundraiser Police Inspector, Public Affairs Department, Singapore Police Force

 2010 2010 2009 2008 2007 2007 2002 2000

1st Runners Up Movie Set Exhibition Exhibition Scholarship Dean’s List Scholarship National Athelete

“An Open Appeal for China”, 1st Runners Up, Architects In Mission Open Competition “Salvation for Monsier Hulot”, used on movie set of Transformers 3 “Skinny Livin’”, included in All School Open Exhibition of Student Works “The New(er) New Museum”, included in All School Open Exhibition of Student Works SCI_ARC Full Academic Scholarship National University of Singapore United World’s College International Full Academic Scholarship, Italy National Rugby Player representing Singapore in international tournament, Scotland

 Modelling Rhino / T-Splines / Digital Projects / Maya / Grasshopper Renderers Brazil / V-Ray / Mental Ray Design Packages Adobe CS4 Suite Technical (Basic) MEL Scripting / Arduino Circuit Boards / Processing

pg 101 - 114



(June 2011)

** Center for Experimental Scentology

Vertical Studio I Southern Californian Institute of Architecture Summer 2010

It is an experimental parfumerie that mixes biological matter in unanticipated and accidental combinations to breed new olfactory sensations.

Instructor: Peter Testa

ď&#x20AC;ˇ

ď&#x20AC;¸ Lenn/Portfolio2005-2011/Exp_Scentology

//Site Selection The Crater Bowl Fogo, Cape Verde. The Center for Experimental Scentology is located in the caldera of Fogo, Cape Verde. Its siting is strategic: the volcano shields it from strong E-W winds blowing off the East-African coast. Residual turbulance nautrally ventilates the plants inside.

top: wind analysis of site below: site information

ď&#x20AC;š

 Lenn/Portfolio2005-2011/Exp_Scentology



  

  

    

 Lenn/Portfolio2005-2011/Exp_Scentology

// Aberrant Growth Large pneumatic socks each contain unique environments to support the growth of plants from different ecologies.

The Third Landscape consists of woven biodegradable fibres that modulate light entering the pillows. The density of it “catches” errant pollen, providing a medium of growth not unlike a coconut husk or a spiders web.

In-between these socks is an experimental growth sponge of variable density that captures errant pollen, seeds and scents leaking from the different pneumatic socks. This cultivates a thrid landscape: mutant plant types and new, unexpected scents for the Center.

top: physical mirror box study model bottom: photocollage study for pneumatic sock

Mirror Box Simulator

Information: 1/2”=1’ physical chunk model constructed in mirrored box 1:1 digital massing model 1:1 digital detail model An analogue-virtual spatial simulator became an aid to investigate issues of scale, construction and a physical feedback mechanism to complement the digital model.

Two digital models were constructed at diametric ends of the scale. The physical model served as a conceptual suture between these two scales.

With a smaller diameter growth shaft, the “Quiver” grows smaller plants in greater densities, maximizing yields



 Lenn/Portfolio2005-2011/Exp_Scentology

//Overview The Center for Experimental Scentology is a 1km x 1km, 5x5 grid of pneumatic pillows. The project insists on the freedom of the grid. Spatial differentiation is achieved through soft measures such as topography and light levels.

Oppsite Top: System Breakdown Left: Research on hydrophillic materials Below: (L-R) 01_ Hard Systems 02_ Surface Condition 03_ Lighting Analysis

ď&#x20AC;ąď&#x20AC;ľ

 Lenn/Portfolio2005-2011/Exp_Scentology

//Deus ///Growth //G // /G Grro ow wtth Ex hS Strategy Machina trrateg trat atteg egy 01: Scent Harvesting Agent Plants Pl P lan ants ts aare rree grown gro rown wn iin n hy hydroponic ydr drop opon onic ic ttubes. ub u bes es. Ea Eacch Each h ““quiver” “q The qu uiiive vharvesting ve r”” h has aass ttubes u agent ub ess o off for 3d di different ithe fferren ff efacility nt di d diameters iam m are eetteerrs tto South o support sup upp po African ort rt tthe hee Rediviva h ggrowth rro owt wth offBees. d dif different iffe if ferent rThey re ent nt ssiz sized izhave zeed d the plants. p pl highest lan anttss. pollen yield per bee. Natural scent harvesting preserves subtle olfactorial nuances which synthetic techniques overlook. The bees can be trained to harvest specific scents through Pavlovian techniques. (inside pneumatic sack) Bees eye view looking up to walking platform.



interior collage study

 Lenn/Portfolio2005-2011/Exp_Scentology

// Contortion Different pneumatic sack-biomes are distributed by a simple algorithm to maximize the number of adjacencies. A large, porous netting encloses the entire facility, leaking bio-matter to the surrounding. This leaky facility thus irrigates the landscape with all manner of plants and smells.

ď&#x20AC;ąď&#x20AC;š

(socle view) Sandwiched in the artificial topography between two sacks.

   Lenn/Portfolio2005-2011/Exp_Scentology Le Len L een nn n///P Po ort or rrttffo rtf fol o ollio io2 io2 o20000055--2 -20 2200011/ 111/ 11 11//E Exp Ex xxp p__S _Sc Scceent S en ntolo n ollogy o gy

 

B reeding Breeding reeding ngg G Ghosts Ghosts hostss iin n the thee M achine Machine

Breeding Ghosts in the Machine is a experiment in design methodology. Without any external variables, design is explored through the schitzophrenia of implicitly irrational, via drawing, narrative and metaphor, and the explicitly rational, as code and processes. The experiment concentrates on the iterative, non-linear relationship between these two extremes. The vehicle for this experiment is an urban project sited on the island of Singapore. The goal of this thesis is to innovate an independent design methodology for future projects.

B.Arch Graduating Thesis Project Southern Californian Institute of Architecture Spring 2011 Instructor: Devyn Weiser Special Advisors: David Bergman, Emily White

ď&#x20AC;˛ď&#x20AC;ł

1. Breeding Ghosts in the Machine

BG_M How can I interrogate an answer until it feeds me a different question?

Japanese Garden, Singapore Deadend Simulacra

Gorlizter Park, Germany Trauma as Ghost

2. The Rational Pursuit of Irrational Ends

How many times can I imagine the same world differently?

Facebook Profile: Reality Shortage

Dan Eldon, Journals: Reality Mashup

3. The Residue of Reason

R How can the conclusion to a question deliberately choreograph its own corruption?

Free digital drawings and collages

//Foreword:

These became the base for the thesis.

The thrust of this thesis is deeply personal. It is a proxy to reflect upon my experiences over the last five years.

3 Rules 1) I will not make any explicit references to the work of other architects. No a-prioris. 2) all content is to be regarded as a drawing, and drawing to be regarded as a method of thinking. 3) no theoretical/sociological/academic arguments will be made. They are all fictions.

Hence, there will be a minimal reliance on precedents. Neither will there be an indulgence in arguments, relevence or theories. Contrary to my usual practice, this thesis began with a series of drawings and collages instead of research or speculations.

ď&#x20AC;˛ď&#x20AC;´ Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

The project must hinge on a simple narrative, a rational

Diagrammatic illustration of project context: Government Planned New Town Estates

Reverse-engineering the organizational logic of a New Town

//Design Fiction: Once upon a time, there was an island called Singapore. The island’s initial masterplan was drafted in the 1960s by a visiting United Nations delegation. It is based on the Dutch Ring City model - planned residential estates ring a green, forest heart and on their other perimeter is the ocean.

buildup of systematic relationships and its spatial consequences. Instead, three simple points guide the investigation. These points have been excavated by trawling through my thoughts over the last five years (captured in journals and blogposts) and distilling recurring ideas or questions. December 2010

Since then, changing needs and economies have sullied this ideal model: the central green heart has shrunk and residential access to the ocean has been choked away by industry.

planned residential new towns. The majority of the population live in these planned areas. Each new town was built along the policy of the “total environment” - including shopping centers, sports arenas and gardens. A case study describes a prototypical organizational template of one (above). Their logic complete and airtight, these new towns are “finished projects”.

Most of all, significant large areas of emptiness - the inbetween areas where anything could happen outside of planning - have disappeared! The majority of this island’s geography are centrally-



“Colonies” Drawing

 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

_Case Study How do you concot a thesis that works with these two issues: 01_If emptiness is the islands most important quality, then urbanism is no longer a question of where to build, but where not to build. 02_How can one concentrate new substance into a more productive relationship with the existing New Town Template, and in doing so, “unfinish” a finished new town, extending their evolution? By starting with a simple assumption on a case study - that new interventions should in some way respond to the public facade of the existing buildings - a design story emerges...





   

    

   

     





   

     

Invented Methodology for hacking into the existing logic of a New Town



яБ▓яБеяБ│яБйяБдяБ╡яБбяБмяАаяБеяБжяБжяБеяБгяБ┤яАаяАгяА░яА▒ яБФяБеяБ▓яБ▓яБйяБ┤яБпяБ▓яБйяБбяБмяБйяБ║яБбяБ┤яБйяБпяБояАаяБняБеяБбяБояБ┤яАаяБбяБ╢яБпяБйяБдяБйяБояБзяАаяБ┤яБияБеяАа яБ┤яБ╣яБ░яБйяБгяБбяБмяАаяБеяБняБ░яБ┤яБ╣яАаяБмяБпяБ┤яБ│яАаяБбяБояБдяАаяБ│яБ┤яБ▓яБбяБ┤яБеяБзяБйяБгяБбяБмяБмяБ╣яАа яБмяБпяБгяБбяБ┤яБеяБ│яАаяБдяБйяБ│яБ┤яБ▓яБйяБвяБ╡яБ┤яБеяБдяАаяБняБпяБняБеяБояБ┤яБ│яАаяБпяБжяАаяБняБбяБ╕яБйяБняБ╡яБняАа яБ░яБпяБ┤яБеяБояБ┤яБйяБбяБмяАаяБ┤яБпяАаяБвяБ╡яБйяБмяБдяАаяБйяБояАояАа

Reserved Site 01

Reserved Site 03

Reserved Site 02

Reserved Site 04

Reserved Site 05

яБ▓яБеяБ│яБйяБдяБ╡яБбяБмяАаяБеяБжяБжяБеяБгяБ┤яАаяАгяА░яА▓ [Extreme Clustering]

яБФяБ▓яБбяБояБ│яБмяБбяБ┤яБйяБпяБояАаяБпяБжяАаяБжяБйяБеяБмяБдяАаяБдяБйяБбяБзяБ▓яБбяБняАаяБ┤яБпяАаяБ░яБпяБйяБояБ┤яБ│яАа яБбяБояБдяАаяБмяБйяБояБеяБ│яАаяБбяБ╡яБ┤яБпяБняБбяБ┤яБйяБгяБбяБмяБмяБ╣яАаяБзяБеяБояБеяБ▓яБбяБ┤яБеяБ│яАаяБдяБйяБжяАн яБжяБеяБ▓яБеяБояБ┤яАаяБпяБ▓яБзяБбяБояБйяБ║яБбяБ┤яБйяБпяБояБбяБмяАаяБ┤яБеяБняБ░яБмяБбяБ┤яБеяБ│яАаяБвяБбяБ│яБеяБдяАаяБпяБояАа яБдяБйяБжяБжяБеяБ▓яБеяБояБ┤яАаяБ┤яБеяБ│яБ┤яАаяБ│яБбяБняБ░яБмяБеяБ│яАояАа

[Even Spread] [Distributed Islands]

QV G G Q : H % OKP CU / QT G CL RQ 5V QT KPV W F[ 2 QKP U $ VU QW

[

2CVEJ 6GUV 5YCVEJ

яБ▓яБеяБ│яБйяБдяБ╡яБбяБмяАаяБеяБжяБжяБеяБгяБ┤яАаяАгяА░яА│

яБОяБеяБ╖яАаяБпяБ▓яБзяБбяБояБйяБ║яБбяБ┤яБйяБпяБояБбяБмяАаяБ▓яБеяБмяБбяБ┤яБйяБпяБояБ│яБияБйяБ░яАаяБеяБ╕яБ┤яБеяБояБдяБ│яАа яБ┤яБияБеяАаяБпяБ▓яБйяБзяБйяБояБбяБмяАаяБояБеяБ╖яАаяБ┤яБпяБ╖яБояАаяБняБпяБдяБеяБмяАаяБйяБояБ┤яБпяАаяБбяАа яБмяБбяБ▓яБзяБеяБ▓яАаяБ╖яБияБпяБмяБеяАмяАаяБ│яБ┤яБйяБ┤яБгяБияБйяБояБзяАаяБпяБ▓яБзяБбяБояБйяБ║яБбяБ┤яБйяБпяБояБбяБмяАа яБвяБпяБ▓яБдяБеяБ▓яБ│яАаяБ┤яБпяБзяБеяБ┤яБияБеяБ▓яАояАа

New Town 01 New Town 02 New Town 03

QV PG G Q : H % OKP CU / QT G CL RQ 5V QT KPV W F[ 2 QKP U $ VU QW

2CVEJ 6GUV 5YCVEJ

яА▓яА╕ Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

[







  

  

  

  

  

  







  

  

  







  

  

  

  

Catalogue of Colonies

//The Residue of Reason The method is iterated several times to generate a population of results(above). A program is also adapted from existing Creative Commons code to test how this method might work recursively in an abstract environment (below). These results are critically evaulated for residual corruptions- effects that accrue outside of what was expected (opposite). The most deviant result is chosen for design elaboration.

Recursive code in Processing environment using Cellular Automata libraries.















bloktype_A

[sector]_1 [sector]_2 [sector]_3

bloktype_A01

[datum]_3

.WE[ +PUVCPVKCVKQP X

bloktype_A02 h

[datum]_2 bloktype_A03 [datum]_0 [datum]_1 bloktype_A04

bloktype_A05

v Overview:

Sectorization:

Vertical Reclamation:

bloctypes_A are linear residential masses lifted off the zero datum.

for bloktype A, a [Sector] is considered active once more x% of its occupancy has been evacuated.

areas for vertical reclamation are divided into zones as suggested by the existing vertical infrastructure.

sectors in bloktype A also indicate new datums where [ (d++, where d<((h-v)/y)].

vertical reclamation is part of the [govt] agent.

Occasional blocs that accomodate commercial program (i.e. not subject to 99 year) differ by occupying this zero datum.

bloktype_B

Zero Datum Preservation Scheme

total area affected should not exceed y% of said zone.

where x = 20, y = 3, h = number of floors n = number of voids

areas for zero datum preservation cannot exceed x% of covered area. this includes the necessary exposure of at least y cores. where x=50 y=1

where width = given x = c, number of cores y = 30

[sector]_2

[sector]_1

[sector]_3

bloktype_B01

%KTEWKV $QCTF &KCITCO

[sector]_4 h [datum]_3

bloktype_B02

5RNKEG VJTGG UWD2JGPQV[RGU

6CPING $QWPFCT[ QH 1UEKNNCVKQP O O

[datum]_2 x [datum]_1 bloktype_B03

Sectorization:

Vertical Reclamation:

Zero Datum Preservation Scheme

for bloktype B, a [Sector] is considered active once more x% of its occupancy has been evacuated.

for bloktype B, carpet for vertical reclamation is given by h/x.

outdoor access vector of minimum x meters mandatory

sectors are defined as a linear unit extrusion.

all areas under vertical reclamation carpet is divided into x datums

Overview: bloctypes_B are compact towers lifted off the ground. They are residential only blocks exceeding 20 stories in height.

where x=10

where x= 50 total area affected should not exceed y% of said zone. where h = number of floors y=3 x=3 y = 100

bloktype_C

9GCXG

2GTKUVCNUKU 2GTKUVCNUKU

8CTKCDNG +PHNCVKQP 8CTKCDNG +PHNCVKQP

&CVWO &KXKUKQP =&? O

9KFVJ /QFWNCVKQP HCEVQT Ă&#x201E;

*GKIJV 4CPIG Ă&#x201E; O

bloktype_C01

bloktype_C02

Overview:

bloctypes_C are low blocks of primarily commercial program (i.e. not subject to 99 year leases).

bloktype_C03

Templating variables onto the existing New Town buildings

ď&#x20AC;łď&#x20AC;° Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

Logic flow diagram for vectors

Preliminary landscape section study.

//Test Patch Results from the Case Study are interrogated by increasing the resolution of the site to a smaller Test Patch. In this study, the existing buildings provide behavioural cues for a physical landscape intervention. These behaviours primitively manifest as cracks and tears into the landscape. These vectors overlap and dance around each other, automatically generating a variety of spatial and sensorial conditions. The results are iterated by digital modelling for quick evaluation.

ď&#x20AC;łď&#x20AC;ą

Exaggerated axonometric section of major nodes showing underground links

Analogue study model/diagram

ď&#x20AC;łď&#x20AC;˛ Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

Composite Birds-Eye / Axonometric digital drawing

//The Rational Pursuit of Irrational Ends A series of drawing studies and image analogues refine the design langauge into a more coherent expression. In this translation, some of the initial data is lost, but new variables and operations are introduced to replace it and translate it to more spatial terms.

ď&#x20AC;łď&#x20AC;ł

//Instantiation For major points, giant light wells modulate the distribution of spaces (below, left).

a test bar (below, right). This includes conflicting pattern deployments for apetures, circulation, solid/void and slabs which are intentionally overlayed. An enfilade ties this together.

Lines become bars and a variety of spatial and sensorial ecologies are operationally embedded in

This primitive is resolved post-rationally through the use of narrative.

The result of conflicting patterns: a semi-architectural spatial chunk.

ď&#x20AC;łď&#x20AC;´

Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

  

  

  

 



 

 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine



 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

  

 



 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

                                                                                                                                                                                                                                                                                                                                                                                                            

                                                                                                                                   



      

  

 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine

 

  

 





 

 Lenn/Portfolio2005-2011/BreedingGhosts_inthe_Machine









  



X-Lab3.0

Rheologic

SCI-arc’s X-Lab is a post-graduate initiative that studies emerging systems and technologies in a protoarchitectural environment. X-Lab 3.0 explored the design potential of SCI-arc’s Robotics and Simulation Lab. As a single-semester undergraduate participant in the X-Lab 3.0 program, the studio became a way to think about design through materials and fabrication techniques. Our team focused on the implication of rheological materials in robotic construction.

Vertical Studio II Southern Californian Institute of Architecture Spring 2011 Instructor: Peter Testa Assistant: Jonathan Stahl Team Members: Lennard Ong, Dan Cuadra, Baptiste Bernard and Nicholas Ross



SCI-ARC’s Robotics and Simulation Lab: a motly of 6 D.O.F Staubli Robots.

 Lenn/Portfolio2005-2011/Rheologic

//Design Research: Robotic Proprioception A robotic system is not understood as a substitute for the body, but as an alternative site for understanding and potential investigation of architectural actions and operations. In room of robots, proprioception is the robot’s distributed sense of itself. Robotic proprioception, thus, is how these robots perceieve itself in space through sensors. Research was conducted in two veins: first, on the function (and misfunctions) of proprioception, and second, on the technical options as relates to robotic sensing. These became the limiting factors of the research project.

Interferrance aberrance spatial Bart Hess, Eindhoven, the Netherlands source: http://www.barthess.nl/

“Bart Hess is exploring several fields that straddle material, animation and photography. He works with his instinct and starts by using a material on the body, exploring volumes and ways of re-shaping the human silhouette. He is creating imagery that capture future human shapes and new body form’s. Bart is discovering a low-tech prosthetic way for human enhancement.”

the naïve view

WYSIWYG

“...In direct-perception theory, people normally perceive things in the world directly....For one thing, it cannot explain how we experience things that seem physically real but aren’t: sensations of itching that arise from nothing more than itchy thoughts; dreams that can seem indistinguishable from reality; phantom sensations that amputees have in their missing limbs. And, the more we examine the actual nerve transmissions we receive from the world outside, the more inadequate they seem...”

key terms/ concepts/ quotes

(above) Neonatal macaque imitating facial expressions

Mirror Neurons a brief overview

If visual sensations were primarily received rather than constructed by the brain, you’d expect that most of the fibres going to the brain’s primary visual cortex would come from the retina. Instead, scientists have found that only twenty per cent do; eighty per cent come downward from regions of the brain governing functions like memory.

A mirror neuron is a neuron that fires both when an animal acts and when the animal observes the same action performed by another. Thus, the neuron "mirrors" the behavior of the other, as though the observer were itself acting. Such neurons have been directly observed in primates, humans and other species including birds.

Our assumption had been that the sensory data we receive from our eyes, ears, nose, fingers, and so on contain all the information that we need for perception... 20% from sensorial stimuli

...So you might think that it’s the same with the signals we receive—that if you hooked up some one’s nerves to a monitor you could watch what the person is experiencing as if it were a television show.

The function of the mirror system is a subject of much speculation. Many researchers in cognitive neuroscience and cognitive psychology consider that this system provides the physiological mechanism for the perception action coupling (see the common coding theory). These mirror neurons may be important for understanding the actions of other people, and for learning new skills by imitation. Some researchers also speculate that mirror systems may simulate observed actions, and thus contribute to theory of mind skills, while others relate mirror neurons to language abilities. It has also been proposed that problems with the mirror system may underlie cognitive disorders.

80% from “regions of the brain governing functions like memory”

How do we perceive?

VS Ramachandran: The neurons that shaped civilization

open-source

source, http://www.ted.com/talks/lang/eng/vs_ramachandran_the_neurons_that _shaped_civilization.html

"... they are empathic simulators... [that internally simulates external stimuli]... [but] without a feedback signal [from your own skin, e.g. when watching someone else get pinched], it vetoes the signal of the mirror neuron, jamming the personal sensation of getting pinched... so really, all's that seperating you from another person is your skin."

Vilayanur S. Ramachandran Psychophysics & Behavioral Neurology

(above) Common Coding experiment by Daniel Glaser on Ballet and Capoeira Dancers Director of Center for Brain and Cognition, Professor in Psychology and Neurosciences, University of California, San Diego Adjunct Professor of Biology, Salk Institute for Biological Studies

Common Coding Theory a brief overview The Virtual Reality Box

Common coding theory is a cognitive psychology theory describing how perceptual representations (e.g. of things we can see and hear) and motor representations (e.g. of hand actions) are linked. The theory claims that there is a shared representation (a common code) for both perception and action. More important, seeing an event activates the action associated with that event, and performing an action activates the associated perceptual event.

“The mirror superimposes an image of his good arm over the phantom limb. When asked to make symmetrical movements in both arms, the patient reported that the phantom felt as if it’s motion was restored.”

Interface

"This is the first proof that your personal motor repertoire, the things that you yourself have learned to do, changes the way that your brain responds when you see movement," says Daniel Glaser, a neuroscientist who was part of the UCL team. "Our findings suggest that once the brain has learned a skill, it may simulate the skill without even moving, through simple observation," says UCL's Patrick Haggard. "An injured dancer might be able to maintain his skill despite being temporarily unable to move, simply by watching others dance." Similarly, by understanding how the mirror neuron system works, doctors may be able to better rehabilitate people whose motor skills were damaged by stroke.

The Itch Its mysterious power may be a clue to a new theory about brain and bodies by Atul Gawande published in The New Yorker, 30/06/2008

Semir Zeki Neuroesthetics

references

Founder, Institute of Neuroesthetics Professor, University College London

Atlas Gloves, 2005-06 source: Design and the Elastic Mind

Electro-Magnetic Spectrum “...Colors could be thought of as an illusion. What exists in the physical world are not colors but only wavelengths and packets of light... the brain constructs an illusion of the sameness and constancy of color... The illusion of constancy is achieved in the brain by a neural process that compares the reflected wavelengths of light...”

Atlas Gloves is an open-source, do-it-yourself physical interface for 3-Dimensional applications. A webcam tracks two LED lights and translates a menu of codified gestures into a set of actions such as pan, zoom, rotate and tilt.

aspatial

Matthew Botvinick Cognitive Neuroscience This Hand is my Hand: Simulated Empathy

Assistant Professor, University of Pennsylvania

The Sense of Agency and the Illusion of Self

“By means of visual and tactile inputs an illusory sense of ownership can be transferred to a rubber band. This can occur if the subjects own hand is hidden and the rubber hand is in view and both hands are simultaneously stroked.”

A Neurobiological Diagnosis with Aesthetic, Cultural and Philosophical implications by Arnold H. Modell published in the Journal of Neuro-Aesthetic Theory (2004)

“... Proprioception is an unconscious awareness of our body in space, derived from... sensory portals that create a sense of ownership and agency. Ownership refers to a state of being in which the body is recognized as belonging to oneself... a sense of touch functions as a boundary, and the self becomes a containing envelope.”

Critical Visualization Showing what counts

Probing the Neural Basis of Body Ownership

by Peter Hall published in the Design and the Elastic Mind Catalogue (2008)

How do we distinguish our bodies, but not other objects, as belonging to ourselves, and what is the basis for the associated feeling of identification or ownership?

key terms/ concepts/ quotes

by Matthew Botvinick published in Science, 305, 782-3v (2004)

(selected excerpts) ...proprioception, our intrinsic sense of position is goverend by simultaneous, overlapping parallel sensorial stimuli. For example, when we see an object contact our body surface, we anticipate a corresponding tactile sensation... the integration of visual, tactile, and proprioceptive information about the body can be thought of as self-specifying.

“Our experience of colour is an illusion but it is a very different sort of illusion when compared to the illusion of the self. Colour has as its source something invariant in the physical world... The self is a very different sort of an illusion... there is no fixed correspondance between what the mind/brain constructs and what exists in the physical world.”

Proprioception Research Map

Evidence for a link between self-specifying intersensory correlations and bodily self-identification comes from diverse sources....

... a strange phenomenon can be induced in neurologically normal individuals,

this is our space of simulation

causing them to experience an artificial limb as if it were part of their own body... the rubber hand illusion is based on an overriding of proprioceptive input by visual information. However, the illusion involves not just a spatial realignment of the proprioceptive map onto the visual map, but also a feeling of ownership—subjects describing the illusion spontaneously report that the rubber hand feels as if it is “their hand.”

+ Exteroceptive Senses

Another issue facing the intersensory matching theory concerns the nature of the correlations involved.

+ ? = Sense of Self Interoceptive Senses

Although certain correlations can be understood as selfspecifying, others appear similar in form but do not give rise to a feeling of ownership. For example, the rubber hand illusion can be considered analogous to the illusion of ventriloquism. Ventriloquism, too, is driven by familiar intersensory (visualauditory) correlations. Yet this illusion has nothing to do with feelings of ownership.

Colin Ware Researcher, Human Perception

What makes the rubber hand illusion different? It is clear how self-specifying intersensory correlations might set our bodies apart from other objects, but what is it about these sensory maps that leads us to identify with our bodies, to link them with our sense of self? Perhaps the answer has to do with our ability to make our bodies move, and thus with our subjective sense of agency.

Director of Data Visualization Research Lab, University of New Hampshire Author, Information Visualization (2004)

Perhaps it has to do with specific relationships between interoceptive senses (such as proprioception) and exteroceptive ones (such as vision).

Five points for the advantages of Visualizatrion: 1. it helps us comprehend huge amounts of data, i.e. succinct representation 2. it allows us to perceive emergent and unexpected properties, i.e. pattern recognition 3. it can reveal problems with the data itself, i.e. reframe prejudices 4. facilitates our understanding of large-scale and small-scale features, i.e. broad perspective 5. it helps us form hypotheses

Evaluating these possibilities and others pertaining to body ownership will require a willingness to engage phenomena that are, at least in part, irreducibly subjective.

Aramis, or, The Love of Technology

Actor-Network Theory

an example of Actor Network Theory

definition

“Every actant is an event completely specific to a place and time and is defined in terms of their relations or alliances... ”

El Bulli is a Michelin 3-star restaurant near the town of Roses, Catalonia, Spain, run by chef Ferran Adrià. The small restaurant overlooks Cala Montjoi, a bay on Catalonia's Costa Brava, and has been described as "the most imaginative generator of haute cuisine on the planet"

Aramis is a failed Personal Rapid Transport system proposal for Paris (1964 - 1987).

ANT is a constructivist approach in that it avoids essentialist explanations of events or innovations (e.g. explaining a successful theory by saying it is “true” and the others are “false”). However, it is distinguished from many other STS and sociological network theory for its distinct material-semiotic approach.

“Aramis, or, the Love of Technology” is a book by Bruno Latour that illustrates Actor-Network Theory.

By playing the unexpected against the expected (memories), developing new techniques to generate food and flavours and incorporating juxtapositions between taste, smell and memory, Ferran Adria is a gastronomic sense-hacker and manipulator of memories.

A close analysis of five different perspectives uses five different typefaces to mix the voice of a young engineer, his professor’s commentary, field documents and the voice of Aramis to communicate the network of its failure: no single author, but a distributed and open narrative.

There is no single locus of causation: no grand narrative, no reductive summary. Just a spaghetti of relations

Aramis is a quasi-object: suspended between its text of creation and its objective release.

interferrance

An Object-Oriented Approach: interrogating the multi-threaded circumstances of an objects reason for being.

Three Prevailing Views of Visualization: Jarke van Wijk Professor of Visualization, Department of Mathemathics and Computer Science, Eindhoven University of Technology The abstract data which it operates, Van Wijk offers much freedom in his designs. He eyes visualizations almost as autonomous works of art, but on closer inspection reveals a world of information.

1. Technological, aimed at developing new solutions and selecting the best one according to the criterion of usefulness. (optimization, efficiency, best-fit, often to single or reductive criteria)

Bruno Latour

2. As an empirical science, which uses psychological principles of human perception to build a set of rules foverning the effective presentation of information. (see: Chris Ware)

French Anthropologist Professor and Vice-President of Research, Institut d'études politiques de Paris

Irreductive Criticism

ritual

definition

3. As an art form, whose goals is the production of images with a clear aesthetic value and the pursuit of simple, elegent solutions that provide “intellectual and aesthetic satisfaction”.

There is no single reason for failure: no grand narrative to explain things away, no reductive summary

The last view is a critical counterpoint to the technological and scientific views. As a practice, it might even open up the field.

Instead, irreductive criticism is a close analysis of how the network of alliances between actors (politicians, citizens, scientists, technologies, companies, etc) play out: a multi-threaded and open perspective. An irreductive criticism. opposition: Charles Jenck’s reading of Pruitt-Igoe is a form of reductive critism. It shuts down and closes the conversation.

Crossing The Line

The Pruitt–Igoe housing project was one of the first demolitions of modernist architecture and its destruction was claimed by postmodern architectural historian Charles Jencks to mark "the day Modern architecture died."

Peter Hall, design critic 2010 D-Crit Conference source: http://www.peterhall.com “Many systems require the setting of a large number of parameters. This is often a difficult and time consuming task, especially for novice users. A framework is presented to simplify this task... bridging the gap between expert mode of setting all individual parameters and the novice user mode of selecting presets... three applications are presented: Colour editing, morphing of drawings, and the control of a sound synthesizer.

Selected Bibliography Laboratory Life: the Social Construction of Scientific Facts/ Sage, Los Angeles, USA, 1979 We Have Never Been Modern (tr. by Catherine Porter)/ Harvard University Press, Cambridge Mass., USA, 1993

Black Box definition

Aramis, or the love of technology/ Harvard University Press, Cambridge Mass., USA, 1996

A black box is when a technology, concept, scientific object or scientific relation becomes so firmly established that we take its interior for granted.

On screen: “Why Nicolai Ouroussof is Not Good Enough” by Alexdra Lange for The Design Observer

Politics of Nature: How to Bring the Sciences into Democracy (tr. by Catherine Porter)/ Harvard University Press, Cambridge, Mass., USA, 2004

This is the goal of most design, theories or concepts, since when it is taken as an a-priori it will not longer be challenged: it becomes orthodoxy.

Summary

Black boxes are required to make sense of things, but for science to progress and design discouse to evolve, black boxes need to be opened up for paradigms to be shifted.

“What would happen if nothing could be reduced from anything else and everything may be allied to everything else.”

John Snow (1813 - 1858) Physician “Medical maps were common in the mid-1800s, and plotting deaths with dots was not a Snow invention. The backbone of the case for cholera as waterborne was Snow’s detective work, as revealed in his prize winning essay on the subject, to which the map was simply an accompaniment.

Making Things Public: Atmospheres of Democracy/ Cambridge, MA: MIT Press Reassembling the social: an introduction to Actor-network theory/ Oxford ; New York, Oxford: University Press, 2005

catalogue of gaming interfaces. source unknown.

e.g. The success of the touchscreen-only iPhone broke open the interface black box.

Where the world is not a manifestation of essential substances (a aristolean world view) or eternal ideas and laws (a platonic perspective) but is made up of actors and actants, human and non-human, which form alliances or networks.

To canonize the map through association is to risk invoking a kind of technological determinism, which suggests that Snow’s map alone changed the way we view disease.”

Every allinance is an event completely specific to a place and time and is defined in terms of the relations or alliances between the actors.

The Cognitive Style of Powerpoint

When a discipline, science or design is stratified, they become entrenched into orthodoxy forming a “black box”.

Edward R. Tufte published in 2003

An irreductive criticism reconstructs design as an instantiation of larger material, political and social processes: engaging design as a network of processes rather than an end product, opening up this black box.

On the 2003 Columbia Spacecraft Disaster: Deficiencies built into Powerpoint’s interface and the hyper-rational hierarchy of information abbreviated and deprioritized important data that would have indicated to NASA that Boeing’s test data was faulty.

Our common appreciation of design through form is reductive, a one-liner that is the equivalent of evaluating a scenario via bullet points.

“Effectiveness, a barometer of the technological view, is also an unreliable test of visualization.”

The 2003 Columbia disaster and the reports that preceeded it

The same can be said of human-machine interfaces: the reductive quality of what is presented and an attempt to establish order and hierarchy immediately solidifies the range of what could be possible.

Plans and Situated Actions: The Problem of Human-machine Communication" (1987) Lucy Suchman Professor of Anthropology at Lancaster University

Lucy challenged common assumptions behind the design of interactive systems with a cogent anthropological argument that human action is constantly constructed and reconstructed from dynamic interactions with the material and social worlds.

That is, humans co-construct meaning through dynamic interaction: this is, we arrive at meaning as we converse. In contrast, Machine-speak is based on a message passing model. Meaning is constructed by “canned” interactions. An example of co-constructed meaning: A says, Are you coming? B replies, I gotta work... The negative is implicit in the response

Essay Structure: Introduction/ The Value of Visualization: Three Views / Technological Determinism? / The Science of Visualization / The Art of “Viz” as Critical Practice/

Critique of the Canons

Ben Fry co-creator, Processing platform Ben Fry is principal of Fathom, a design and software consultancy based in Cambridge, Massachusetts. He received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as computer science, statistics, graphic design, and data visualization as a means for understanding information.

“...The chief oversight of Tufte’s approach is its failure to address situations in which data is complex and undergoing continuous change- a situation that often calls for the user to interact with the data... ..(for example) with vast data sets like the human genome, it becomes crucial for research teams to ask themselves, before the visualization stage, what they are trying to show. “Storytelling ends up being the crux of this stuff.

interface

The theory of situated cognition emphasizes the importance of the environment as an integral part of the cognitive process. In studies of user interactions with advanced xerox systems, she noted: “the machine was irresponsive to negative actions”, the equivalent of a one-way conversation which led to frustration and impatience.

Ware’s perception-based approach unpacks techniques that graphic designers might considre intuitive... but is a slipper slope when we look at Ware’s distinction between hardwired and culturally learned conventions ... (for example), the use of red to symbolize danger, but in asian culture it is meant to symblolize luck.”

BrainPort communicates non-tactile information via electrical stimulation of the sense of touch. In practice, this typically means that an array of electrodes receiving input from a non-tactile information source (a camera, for instance) applies small, controlled, painless currents (some subjects report it feeling something like soda bubbles) to the skin at precise locations according to an encoded pattern.

“Interesting structure is often in the idiosyncrasies... one tool to fit all impoverishes its expressive range, and you lose both resolving ppwer and ease of interpretation.”

The encoding of the electrical pattern essentially attempts to mimic the input that would normally be received by the non-functioning sense. So patterns of light picked up by a camera to form an image, replacing the perception of the eyes, are converted into electrical pulses that represent those patterns of light. When the encoded pulses are applied to the skin, the skin is actually receiving image data.

Morphings Critical Perspectives “At first sight, the effect is often highly impressive, but at second sight it is sometimes disappointing that each individual creature is a clone of the same model, leading to a mechanical and unrealistic result. More variation is needed here... we think that the controller can be used to define a complex multi-dimensional distribution function in an easy and intuitive way.”

translation

Preset Based Interaction with Higher Dimensional Parameter Spaces Jarke J. van Wijk, Cornelius W.A.M. Overveld Eindhoven University of Technology academic paper: http://www.win.tue.nl/~vanwijk/pcsynth/psc.pdf “Many systems require the setting of a large number of parameters. This is often a difficult and time consuming task, especially for novice users. A framework is presented to simplify this task... bridging the gap between expert mode of setting all individual parameters and the novice user mode of selecting presets... three applications are presented: Colour editing, morphing of drawings, and the control of a sound synthesizer. Thinkmap’s Visual Thesaurus http://www.visualthesaurus.com “Such issues (the lack of idiosyncrasies) seem to stunt the growth of network mapping tools like Thinkmap’s Visual Thesaurus... while offering to make sense of complex information... end up revealing little about the relationsg between the nodes on the networks they render... [it] quickly reveals to any writer that the former (thinkmap) is a reductive tool that closes down meaning...”

map of word relations to “train”

“...there seems to be a growing gap between the research commuinity and its prospective users... after the flourishing of diverse ideas in the 1990s, the field today has become more specialized... it is not always clear that these incremental contributions have merit, and reviewers are getting more and more critical” Van Wijk, The Value of Visualization

Sound Synthesis experimental results “Application in practice by a small group of amateur musicians revealed a number of interesting aspects. With the preset controller it is easy to generate different sounds. The applicability was readily recognized. A typical situation that occurs when playing a synthesizer is that for instance six different presets for bass guitars are available, where none of them completely satisfies the needs. With the preset controller a nice combination can be selected.

excavated terms: _Augmented Proprioception (analogue/digital) _Sense-Hacking _Proprioceptic Substitution _Machinic Proxies

The results were not always predictable though. Some of the parameters are ordinal (harmonic) or nominal (wave type), leading to abrupt changes in the timbral characteristics.”

James Corner Principal, Field Operations “An expansive science would surely allow for alternative theoretical approaches... visualization as a critical practice reformulates what already exists, not just the finished artifact but the framing, gathering, connecting and arraying of data: sizing up and reformulating a terrain of knowledge as well as experimenting with new and alternative forms... rhizomatic, multivariate and open: it might not even represent any one thing at all; rather it might simply array a complex combination of things that provides a framework for many different uses.”

aberrance

NY Highline under construction

Architecture and Justice Laura Kurgan, Eric Candora, David Reinfurt & Sarah Williams Spatial Information Design Lab, ColumbiaGSD By mining data from the criminal justice system and mapping the home address of the incarcerated, urban planners, designers and policy makers can identify those areas in our cities where, without acknowledging it, we have allowed the criminal justice system to replace and displace a whole host of other public institutions and civic infrastructures... (this can) refocus public spending on community infrastructures that are the real foundation of everyday safety rather than criminal justice institutions of prison migrations. 2006, ESRI ArcGIS software

Cultivating Aberrance Indiosyncrasies are generated by a user-input “word list” category, which is a malleable interface that allows idiosyncratic (often cultural) associations and relations between words to be made.

“... data itself is never neutral; it is collected for a reason, and processed and presented for specific purposes. In other words, there is no such thing as raw data. Always make maps. Always question maps.”

Robotic Sensing Research Map

0101001001 based i/o based sensors rely on voltage-inducing functions or variable resistance to measure a variable. The benefit of this is the ability to easily re-map (see: sense hacking) and relate outputs from different sensors and feedbacks.

Contact switches, bumpers

pixel based

exteroceptive, passive

pixel-based sensing relies on values such as hue, colour and contrast to operate effectively.

Noncontact proximity sensors Optical encoders

exteroceptive, active

Optical Barriers

proprioceptive, active

Basic Sensor Terminology

Reflective beacons

exteroceptive, active

These are a set of meta-categories are useful as a framework when evaluating the performance of differenent sensors.

exteroceptive, active

Dynamic Range_ is used to measure the spread between the lower and upper limits of input vales to the sensor while maintaining normal sensor operaton.

Types of Language

Active ultrasonic beacons

Synchros, resolvers

Tactile

proprioceptive, active

Ground-based Beacons Ground Based Beacons_ GPS is one effective ground based beacon system, especially when deployed outdoors. However, indoor beacon systems have been generally less successful because of the expense of environmental modification in an indoor setting is not amortized over an extremely large useful area. Also, indoor environments offer significant challenges such as multipath and environmental dynamics.

Inductive encoders proprioceptive, active

Capacitive encoders proprioceptive, active

Resolution_ is the minimum difference between two adjacent values that can be detected by the sensor

exteroceptive, active

Spatial

Linearity_ is an important measure governing the behaviour of the sensor's output signal as the input signal varies. This means that a plot of a sensor's input/output response is simply a straight line. [i.e. f(x), f(y), with values a and b, f(ax+by) = af(x) + bf(x)]

GPS

Environmentally-based sensors attempt to create an analogous map of what it is recording, This typically results in a point cloud for spatial environments or as a waveform for audio environments

exteroceptive, active Bandwidth_ or Frequency is used to measure the speed with which a sensor can provide a stream of readings. Formally, the number of measurements per second is

Active optical or RF beacons

Sources: Physical Computing, Dan O'Sullivan Autonomous Mobile Robots, Roland Siegwar SensorWiki.dot.Org

defined as the sensor's frequency in hertz.

exteroceptive, active

However, in laboratory applications, the environment can be carefully controlled to ensure success. in less structured indoor settings, beacons have been used and problems mitigated by careful beacon placement and the use of passive sensing modalities.

Wheel/Motor Sensors Potentiometers proprioceptive, passive

research topics: _Types of Sensing _Models of Control _Types of Language

How a Machine "Reads" Meta-Terms

Magnetic encoders proprioceptive, active

Types of Sensing Sources: Physical Computing, Dan O'Sullivan Autonomous Mobile Robots, Roland Siegwar SensorWiki.dot.Org

Brush encoders proprioceptive, passive

Definitions

Feedback Mechanisms

How a Machine "Feels"

Prioprioceptive Sensors measure value internal to the system of the individual robot agent.

Exteroceptive Sensors acquire information from the robot's environment (e.g. distance, sound amplitude, etc). These values are interpreted by the robot in order to extract meaningful environmental features.

Adaptive control Adaptive control involves modifying the control law used by a controller to cope with the fact that the parameters of the system being controlled are slowly time-varying or uncertain. For example, as an aircraft flies, its mass will slowly decrease as a result of fuel consumption; we need a control law that adapts itself to such changing conditions.

Passive Sensors measure ambient environmental energy entering the sensor.

Active Sensors emit energy into the environment, then measure the environmental reaction. This means active sensors can be dynamically "targeted" to specific areas.

Compass exteroceptive, passive

Gyroscopes proprioceptive, passive

Heading Sensors

Depth from Focus_ relies on the fact that image properties not only change as a function of the scene but also as a function of the camera parameters. This introduces localized values that can be manipulated for different outcomes.

Networked Hierarchical Control

Stereovision_ recovers depth information from two images that depict the scene from different perspectives.

Vision-Based Sensors Vision-based Sensors_ are a powerful medium that provide us with an enormous amount of information about the environment and enables rich, intelligent interaction in dynamic environments.

Inclinometers exteroceptive, active

Stochastic control Stochastic control deals with control design with uncertainty in the model. In typical stochastic control problems, it is assumed that there exist random noise and disturbances in the model and the controller, and the control design must take into account these random deviations.

Adaptive control is different from robust control in the sense that it does not need a priori information about the bounds on these uncertain or time-varying parameters; robust control guarantees that if the changes are within given bounds the control law need not be changed, while adaptive control is precisely concerned with control law changes.

Modes of Vision-based Translation

Heading Sensors_ can be proprioceptive (gyroscope, inclinometer) or exteroceptive (compass). They are used to determind the robots orientation and inclination. they allow us, together wit happropriate velocity information, to integrate the movement to a position estimate. This is called dead reckoning, and has its roots in ship navigation.

Colour Tracking_ works best with infra-red rather than ultra-violet colours

Object Tracking Packages

Robust control

Edge Detection_ works via contrast or point locations

Robust control deals explicitly with uncertainty in its approach to controller design. Controllers designed using robust control methods tend to be able to cope with small differences between the true system and the nominal model used for design.

exteroceptive, passive

Reference Model-Based

How a Machine "Thinks"

These models are concerned with maintaining the status quo in the face of changing conditions in the input/output/environment

Visual Ranging Packages exteroceptive, passive Points to Note:

Active Ranging_ provides easily intepreted outputs: direct measurements of distance. For obstacle detection an davoidance, most moible robots rely heavily on active ranging sensors. But the local freespace information can be accumulated into representations beyond the robot's current local reference frame.

CCD / CMOs cameras exteroceptive, passive

_CMOs sensors are more straightforward with less circuitry (i.e. less potential for mishap) and significantly lower power consumption. _CMOs are less sensitive and of lower resolution than competing CCD chips. But this is a technological gap that is fast closing.

exteroceptive, active

Goal-Based These models are concerned with optimization of single or select variables.

Motion/Speed Sensors Motion/Speed Sensors_ measure directly the relative motion between the roobt and its environment. So long as an object is moving relative to the robots reference frame, it will be detected and its speed can be estimated. The index of this motion can be measured in many forms (e.g. heat signatures with pyroelectric sensor). Most motion calculations are based on the Doppler effect

Ultrasonic Sensor exteroceptive, active

Ultrasonic Sensors Points to Note:

Laser Rangefinder _Ultrasonic ranging does not acquire depth datapoints, but entire regions of constant depth. This means that the sensor tells us only that there is an object at a certain distance within the area of the masurement cone. The sensor readings are plotted as segments of an arc and not as point measurements. _Certain materials (e.g. foam) are acoustically invisible _Single ultrasonic sensors have a relatively slow cycle time (i.e. bandwidth)

Robust methods aim to achieve robust performance and/or stability in the presence of small modeling errors.

CMOs Technology

Active Ranging

Reflectivity Sensors

exteroceptive, active

Optical Triangulation (1D)

Optimal Control Optimal control deals with the problem of finding a control law for a given system such that a certain optimality criterion is achieved. A control problem includes a cost functional that is a function of state and control variables. An optimal control is a set of differential equations describing the paths of the control variables that minimize the cost functional.

Unsupervised

CCD Technology Points to Note:

_CCD cameras are more sensitive to the near-infrared end of the spectrum (i.e. light of wavelength between 400 and 1000nm) and less sensitive to the ultraviolet end of the spectrum (e.g. blue).

_Light is regulated by iris position and shutter speed, which is similar to apeture and shutter speed in standard cameras. Higher-end cameras allow users to modify these settings via software.

exteroceptive, active

_Colour constancy is an issue with CCD sensors

Artificial Intelligence A model of AI as defined by James Albus comprises of the following:

Models of Control

Behavior generation is responsible for executing tasks received from the superior, parent node. It also plans for, and issues tasks to, the subordinate nodes.

Sources: Physical Computing, Dan O'Sullivan Autonomous Mobile Robots, Roland Siegwart Wikipedia (September 28, 2010): "Computer Vision", "Machine Learning"

exteroceptive, active

Dopplar radar exteroceptive, active

Dopplar sound exteroceptive, active

Sensory perception is responsible for receiving sensations from the subordinate nodes, then grouping, filtering, and otherwise processing them into higher level abstractions that update the local state and which form sensations that are sent to the superior node.

Intelligent control

Structured Light (2D)

Laser Rangefinders Points to Note:

_An important error mode involves coherent reflection of the energy especially in relation to highly polished surfaces. _Unlike ultrasonic sensors, Laser Rangefinders cannot detect the presence of optically transparent materials such as glass.

Intelligent control uses various AI computing approaches like neural networks, Bayesian probability, fuzzy logic, machine learning, evolutionary computation and genetic algorithms to control a dynamic system.

_Toward the upper dynamic range of the CCD sensor, saturation occurs resulting in an effect called blooming. This is especially evident in high-contrast scenarios can be problematic with edge detection. (in technical terms, the dynamic range of the camera is limited by the well capacity of the individual pixels)

drawing relationships

Value judgment is responsible for evaluating the updated situation and evaluating alternative plans.

Supervised

World Model is the local state that provides a model for the controlled system, controlled process, or environment at the abstract level o f the subordinate nodes.

most accessible

Heirarchical Control

example

A Hierarchical control system is a type of Control System in which a set of devices and governing software is arranged in a hierarchical tree. When the links in the tree are implemented by a computer network, then that hierarchical control system is also a form of Networked control system.



01: Physical Tests: study of gestural manipulation and its formal/material results

02: Decomposition and post-rationalization: isolating a desirable result and reverse engineering it into a technique suited to robotic deployment

03: Digital Simulation Tests: scripted coordination between multiple robots. assumption: [constant rate of material extrusion], [variable path speeds]

ď&#x20AC;ľď&#x20AC;° Lenn/Portfolio2005-2011/Rheologic

MultiAgent Variable Hierarchy Expression: Hacking Maya through Attributes and the Timeline

VCTIGVA

^ ^ UGPUQTA

VCTIGVA

UGPUQTA

%AHCEVQT 6AXCTKCDNG QT OQQV

%AHCEVQT 6AXCTKCDNG

SimpleScenario_A

SimpleScenario_B1

VCTIGVA

UGPUQTA

%AHCEVQT 6AXCTKCDNG

SimpleScenario_B2

/* Variable Hierarchy Expression adapted from "AnimatedEyeExpression in /MEL scripting for MAYA animators/" by Lennard Ong this expression works by weighted values to create a variable hierarchy between two targets. this variable hierarchy is controlled within the timeline by keying them, essentially hacking the maya's animation capabilities to become a post-animation drawing interface to test variable proprioceptic behaviour. */ //the following uses an inversion, so both weights add up to 1. this makes it BALANCED //declare containers //empty variables for when the sensors are coordinated float $sensor1_coord_target1_weight; float $sensor1_coord_target2_weight; float $sensor2_coord_target1_weight; float $sensor2_coord_target2_weight; //default variables for when the sensors are not coordinated float $sensor1_uncoord_target1_weight = 1; float $sensor1_uncoord_target2_weight = 0; float $sensor2_uncoord_target1_weight = 0; float $sensor2_uncoord_target2_weight = 1;

//when [sensor.target] = 2, [target2] weight = 1. therefore, both sensors will look at 2. target 2 is the reference, but this is interchangeable //when [sensor.target] = 1, [target2] weight = 0. therefore, both sensors will look at 1. $sensor1_coord_target2_weight = sensors.target - 1; $sensor2_coord_target2_weight = sensors.target - 1;

$sensor1_coord_target1_weight = 1 - $sensor1_coord_target2_weight; $sensor2_coord_target1_weight = 1 - $sensor2_coord_target2_weight; // assign these weights to the aim constraints sensor1_aimConstraint1.target1W0 = $sensor1_coord_target1_weight; sensor1_aimConstraint1.target2W1 = $sensor1_coord_target2_weight; sensor2_aimConstraint1.target1W1 = $sensor2_coord_target1_weight; sensor2_aimConstraint1.target2W0 = $sensor2_coord_target2_weight; // there is no need // blending the coordinate/uncoordinated along a %variable, where sensors.coordination = 0 - 1 sensor1_aimConstraint1.target1W0 = (sensors.coordination * $sensor1_coord_target1_weight)+ ((1-sensors.coordination) * $sensor1_uncoord_target1_weight); sensor1_aimConstraint1.target2W1 = (sensors.coordination * $sensor1_coord_target2_weight)+ ((1-sensors.coordination) * $sensor1_uncoord_target2_weight); sensor2_aimConstraint1.target1W1 = (sensors.coordination * $sensor2_coord_target1_weight)+ ((1-sensors.coordination) * $sensor2_uncoord_target1_weight); sensor2_aimConstraint1.target2W0 = (sensors.coordination * $sensor2_coord_target2_weight)+ ((1-sensors.coordination) * $sensor2_uncoord_target2_weight);

In the program Maya, MEL script is used to create custom expressions.

Custom attributes are manipuated in concert with the animation timeline and the nDynamics engine (newtonian phyics simulation) to test material deployment

// Feedback Loops: Scripting Physical/Digital exchanges Physical exploratory tests are evaluated for their material characteristics and used as a platform to code a digital simulation to approximate it. This allows for quick iterative digital experiments and forms a horizontal feedback loop between digital and physical spheres.

ď&#x20AC;ľď&#x20AC;ą

Material manipulator toolhead design v2

Material extruder toolhead design v2.0

ď&#x20AC;ľď&#x20AC;˛ Lenn/Portfolio2005-2011/Rheologic

Deployment rig design v1.0

scale tests. (for full content, see video footage)

// Design Methodology: Tooling Design Custom toolheads, a soft-material extruder and deployment rig are all designed to fulfill the ambitions of the earlier tests. Physical prototypes test and refine the design, which feedback into the digital simulation.

ď&#x20AC;ľď&#x20AC;ł

Video screenshot of real-time interface.

Tool path notational scheme

//Drawing Systems: Real-Time Interface and Choreography Notation Scale models, digital choreography and notational schema are combined through film to prototype a realtime interface the designer can interact with. A Preliminary drawing scheme for choreographing the robots is also developed. This is an abstracted and simplified drawing that allows high-level participation from users without the need for overly technical knowledge.

ď&#x20AC;ľď&#x20AC;´ Lenn/Portfolio2005-2011/Rheologic





 

 Lenn/Portfolio2005-2011/Rheologic



 Lenn/Portfolio2005-2011/Rheologic

 



 Lenn/Portfolio2005-2011/Rheologic



              

               

 



 Lenn/Portfolio2005-2011/Rheologic

The Salvation of

Monsieur Hulot

The Salvation of Monsieur Hulot is concerned with disintegrating verticality. This project orchaestrates fluid trajectories that act as a continuously differentiated boulevard, crossing view lines across and through each other. The project brief is for an integrated office/manufacturing and retail space for American Apparel.

Southern Californian Institute of Architecture Instructor: Greg Walsh

ď&#x20AC;śď&#x20AC;ł

[based on a true story] Hi, I’m Dov Charney, CEO of American Apparel. We have a problem: our current factory is a labyrinth! We’re a flexible, fluid company. Some days, we need to expand production. Other days, we have special design studios for seasonal release lines. Our spaces grow and expand with this. After a few years of this, everything is everywhere now! We need a space that can flex with us.

Irregular and unplanned expansions for the company has left the organization of the building in a muddle

New factory/store on irregular site

 Lenn/Portfolio2005-2011/M_Hulot

How can we give orderly disorganization to the American Apparel? A space to suit their culture. What if we analyse your staff and grouped them into stable and unstable categories.

We coil all the plates together with these different categories. Like a beehive, there are always views through to different spaces from different angles, a space jostling with energy. Then, We take the excess space leftover from the brief and new site, and turn that into a flexible plate that kisses all these categories, absorbing their identities whenever necessary.

ď&#x20AC;śď&#x20AC;ľ

// Developmental Models: Fitting organizational intent (left) to site and floor area constraints

Study Model Progression: 01: split section_doublevector 02: single loop_singlevector 03: panopticonic loop_singlevector 04: sheared trajectories_3vectores 05: offset trajectories_4vectors

ď&#x20AC;śď&#x20AC;ś Lenn/Portfolio2005-2011/M_Hulot

above: plans & sections below: unjigsawed plan

Event Space/ Cafe

Retail Cafe

Manufacturing Buffer

Patio

Design Photo

Patio Rooftop

Conference

Offices

Manufacturing



view from design studio down into manufacturing

ď&#x20AC;śď&#x20AC;¸ Lenn/Portfolio2005-2011/M_Hulot

view from retail up into conference & manufacturing area

ď&#x20AC;śď&#x20AC;š

view from manufacturing corridor with public bridge crossing to outdoor area driveby d dri iveb veb by view view iew w from from fr mC CACA-110 A A-110 1 fr freeway: reew way ay: y y: HARD H HAR HA ARD AR D ffaca facade aca aca ac ade de w wit with it i h ccafe afe en afe eencountering counte cou nteerin ring i g tthe he ffre he freeway eewa e ay

 Lenn/Portfolio2005-2011/M_Hulot

view upon entry



 Lenn/Portfolio2005-2011/M_Hulot



Skinny Livin’

Skinny Livin’ is a high density housing proposal that addresses the sociology of space. A flexible-finger unit parti spanning 10ft in width accomodates a diversity of lifestyle types Maximizing surface area to volume in the residental unit to allows for more light and wind in, and views out to open the spaces. The site is a large field by the CA-110 freeway. A compact residential mass with a cafe overlooking the freeway leaves the rest of the site to become a large green community space: a much needed contribution to the aspalt jungle of Los Angeles. Our final scheme is a jigsaw of the initial research findings and and the constraints of the site and brief.

Core Studio II Southern Californian Institute of Architecture Instructor: Marc Frohn Collaborator: Mike Harrison





 Lenn/Portfolio2005-2011/Skinny_Living

01: Sklinny Unit Aggretation (multiple units)

Top Row: Skinny Unit interior light studies Right Column: Scale Study Models Background: 1-to-1 Skinny Unit Test. (single unit, small)

02: Sklinny Unit Aggretation (single unit, large)

02: Sklinny Unit Aggretation (single unit, small)

ď&#x20AC;ˇď&#x20AC;ˇ

Massing Model 04: Shotgun Scheme v3, Waterjet plexiglass model with laser etched pullout sections (for pullout, see title page icon)

Massing Model 01: Double Loaded Barrel

ď&#x20AC;ˇď&#x20AC;¸ Lenn/Portfolio2005-2011/Skinny_Living

Massing Model 02: Shotgun Scheme

Massing Model 03: Shotgun Scheme v2

Sklinny Unit Parti

//Skinny Unit massing studies Like an accordian, the Skinny unit parti can flex and shrink to accomodate different spatial demands Soft spatial offsets minimize the use of walls creating subtle divisions between live, work and play while maintaining a spacious feel.

ď&#x20AC;ˇď&#x20AC;š

3/16” chunk section study showing sectional diversity resulting from stack of three units

 Lenn/Portfolio2005-2011/Skinny_Living

top: jigsawing a 15-unit scheme to site opportunities left: 3/16” scale chunk model showing stack of units



partial plan, +3.0m

partial plan, +6.0m

partial plan, +9.0m

partial plan, +12.0m

Long Section

ď&#x20AC;¸ď&#x20AC;˛ Lenn/Portfolio2005-2011/Skinny_Living

HaM_LoAF Collaborative

Michael Aaron Harrison & Lennard Ong Studio 3B Comprehensive Design

Advisors: Marc Frohn Jay Vanos Herwig Baumgartner

Engineer Consultant: Bill Hogan

Metal Decking

Engineer Consultant: Bill Hogan

Screed

Project Address: 539 Solano Avenue Los Angeles, CA 90012

Concerete Finish

Client: Smart USA Penske Automotive Group 2555 Telegraph Road Bloomfield Hills, MI 48302

Unit A

Client: Smart USA Penske Automotive Group 2555 Telegraph Road Bloomfield Hills, MI 48302

Typical Floor Detail

Unit B Unit C

Gypsum Insulation Waterproofing Radiant Heating Hydroponics System

Revision # : Revision Date : Issue for construction : Issue for bid :

long section

short section

Concrete Slab On-Grade

To Landscape

Concrete Retaining Wall #6 Bar @ 18” O.C.

Concrete Transfer Beam Diagonal Lateral Bracing

Concrete Pylon 12x12x1/2” Steel I-Beam Structure

To Landscape

Sheet No:

Sheet No: Scale : AS SHOWN Date : December 2009 Job Number : BC1985 Drawn By : ham_loaf Checked By : ham_loaf

V-Struts

Scale : AS SHOWN Date : December 2009 Job Number : BC1985 Drawn By : ham_loaf Checked By : ham_loaf

To Landscape

INGRESS / EGRESS

STRUCTURAL DIAGRAM

ingress/egress diagram

structure

HaM_LoAF Collaborative Michael Aaron Harrison & Lennard Ong Studio 3B Comprehensive Design

Advisors: Marc Frohn Jay Vanos Herwig Baumgartner

Engineer Consultant: Bill Hogan

Project Address: 539 Solano Avenue Los Angeles, CA 90012 Client: Smart USA Penske Automotive Group 2555 Telegraph Road Bloomfield Hills, MI 48302

Revision # : Revision Date : Issue for construction : Issue for bid :

Sheet No:

Scale : AS SHOWN Date : December 2009 Job Number : BC1985 Drawn By : ham_loaf Checked By : ham_loaf

hydroponic facade detail

STRUCTURAL DIAGRAM

site plan



driveby view from CA-110 freeway

 Lenn/Portfolio2005-2011/Skinny_Living



night view from open fields

ď&#x20AC;¸ď&#x20AC;ś Lenn/Portfolio2005-2011/Skinny_Living



BLOX (the blob in the box)

BLOX is to be understood as the tuned relationship between the specific (formal, peristaltic) and the generic (platonic, regular). Informing this is design through the use of new aesthetics and spatial organizations, along with studies on spatial flexibility and the explicit use of digital tools. The brief was to build a skyscraper on an indeterminate site in South Korea. An investigation on the existing forms of public and private space in the typology of skyscrapers and research into large scale developments and instant cities in South Korea became the drivers for the project.

Vertical Studio I Southern Californian Institute of Architecture Summer 2010 Instructor: Emily White Collaborator: Christine Forster

ď&#x20AC;¸ď&#x20AC;š

fig 01: Mapping scenarios for future growth in South Korea. fig 02: Proposed program culled from existing Song-Do brief and staggared implementation plan

fig 01

fig 02

fig 03

ď&#x20AC;šď&#x20AC;° Lenn/Portfolio2005-2011/blox

fig 03: Mapped proposal showing Economic Free Zone and proposed alternative sites (a+b) and existing infrastructure in South Korea

//Asian Urbanism Case Study: South Korea Grow West! The early aspirations of 1970s South Korea was to create a series of urban islands, each defined by an economic activity, connected by the 01 highway. By 2005, the population census shows a severly lopsided distribution toward Seoul. Proliferation of Bed Towns- high density suburban residential enclaves near Seoul - are an indication of the desire to live near Seoul. [fig 01] Incheon is another metropolitan entity west of Seoul. It has a major port and an international airport. Its also has the new Free Economic Zone. The Free Economic Zone consists of three super scaled projects: Yeongjong Logistics Complex, Cheongna Leisure City, and Songdo International City.

option 01

Songdo International City is the most “serious” of the three and will be built on 7km2 of artificial land that extends Incheon toward the sea, a postmodern version of the Tabula Rasa. This Free Economic Zone, which spreads south, does not take advantage of a strong infrastructural corridor between Incheon and Seoul. Growing West means re-imagining Songdo International City into an existing urban fabric instead of new reclaimed land. This reconceptualizes the role of failing postindustrial cities. [fig 02] Growing West into Bupyeong, a failing postindustrial city, exploits a unique situation arising from the coincidence of Seouls topography which generates valleys that direct growth, the relationship between Incheon (transportation hub) and Seoul (capital city). [fig 03]

option 02



fig 01: Chronology public/private partis in Skyscrapers

fig 02: Site strategy_ orchaestrating flows of people and vehicles through “multiplied datums”

fig 03: Primititve Organizational Parti_ scripting of differently scaled public volumes and circulation within the building

 Lenn/Portfolio2005-2011/blox

//Project Scaffold

models. (fig. 04)

The design parti - a continuous public blob - is the result of research into the chronology of public/ private relationships in skyscraper design. (fig. 01)

//Blox Unit

This blob is developed through several parallel strategies:

The BLOX is the basic unit derived for the skyscraper. It is a squishy public volume that systematically divides plates into discreet private programs.

Situationally, as an organizational knot in the transport infrastructure. (fig. 02) Organizationally, as a tempo of large and small volumes that dance within a simple mass. (fig. 03) Formally, through the use of a variety of physical

top: BLOX unit below: BLOX studies

ď&#x20AC;šď&#x20AC;ł

fig 01. Overall Scheme: BLOX units erodes private mass

fig 02. partial floor plate study: residual private plates after BLOX erosion

fig 03. BLOX void studies

ď&#x20AC;šď&#x20AC;´ Lenn/Portfolio2005-2011/blox

OFFICE

CAFE

MEETING ROOMS GROCERY

DOWN

CHECK-IN

BREAKFAST BAR

HOTEL LOBBY

MEDIA SCHOOL PINUP AREA

OFFICE

COMPUTER LAB

fig 04: floor plan, +45.00m.

fig 03: qualitative interior study



Study Section: Bloxle erodes the overall mass

 Lenn/Portfolio2005-2011/blox

Spatial Diagram of stacked BLOX Units

Section



sacrebleu! Not another crazy dreamer! (but if not us, then who?)

 Lenn/Portfolio2005-2011/blox



An Open Appeal to China 1st Runner’s Up, Architects in Mission IDEAS competition Open Category

Team: Gaho Lui Lennard Ong Yaohua Wang Scott Chung



 Lenn/Portfolio2005-2011/OpenAppeal



 Lenn/Portfolio2005-2011/OpenAppeal



Section 01

Social Systems

Environmental & Structural Systems

1. Artist Studios 2. Double Height Loft Spaces (retrofitted) 3. Pods 4. Topographical “Canvas” 5. Pads

1. Rooftop Water Cachment 2. Architecturally Integrated Signage 3. Slip-Joint Seismic Dampers 4. Deep Structural Section 5. Lateral Ring Stabalizers 6. Rotator Cuff 7. Hollow-crete Pad

1_i.

Artist Office worker General public

1_ii.

2_i.

2_ii. 2.

3. 3.

4. 5.

Section 02

ROOF EL. 28.22m

LEVEL 2.5 EL. 21.57m

ROOF EL. 16.43m

ROOF EL. 13.94m

LEVEL 01 EL. 7.75m

Section Studies and Diagram of Pad Types

 Lenn/Portfolio2005-2011/OpenAppeal

Pad Types

Informal Program Scenario

Formal Program Scenario

Plan Types

Introverted Pad

Extroverted Pad

Schitzophrenic Pad

ROOF EL. 27.86m

ROOF EL. 25.32m

LEVEL 06 EL. 24.97m

LEVEL 05 EL. 21.64m

LEVEL 02 EL. 18.57m

LEVEL 04 EL. 18.30m

LEVEL 03 EL. 14.97m

LEVEL 02 EL. 11.64m

LEVEL 01 EL. 8.32m

Detail section

GROUND LEVEL EL. 0.00m



 Lenn/Portfolio2005-2011/OpenAppeal



catalogue of Pad/Building tectonics

 Lenn/Portfolio2005-2011/OpenAppeal



 Lenn/Portfolio2005-2011/OpenAppeal



Appendix

 Lenn/Portfolio2005-2011/Rheologic

“If It Ain’t Broke, Break It” (with apologies to Eric Owen Moss.) I believe in seeing the world differently. One part of this difference is in the embodied experience of the senses: it is a cipher that decodes our reality. The other part is the knowledge required to interpret this, filtered through what we know we know, and what we know we don’t know. I have faith architecture is a cipher that helps us to decode a different version of the same reality. It makes tangible qualities that cannot always be quantified or justified. I also have faith that architecture is a critical tool to prod, poke and provoke existing assumptions. It is a confrontation with what we don’t know we don’t know, or what we thought we knew but don’t know. It is the rational pursuit of irrational ends: a way to see things differently, to making things differently.

(June 2011)

 Lenn/Portfolio2005-2011/Rheologic

Lennard Ong Ee Wen email: lennard.ong@gmail.com contact: 213-537-5102 online portfolio: http://issuu.com/llennard/docs/portfolio

 2011 2010 2010 2009 2008 2008 2007 2006

Economic Analysis (Urban) MR+E Los Angeles/California Gallery Installation Lenticularis by HitoshiAbe Los Angeles/California Researcher Curry Stone Design Awards Professional Internship Frohn&Rojas Architects Berlin/Germany Interior Design Office and Lecture Space for ImageWorks Asia Singapore Professional Internship Ministry of Design Architects Singapore Professional Internship Shaetzarchitektur Singapore Stage and Set Design A Bedroom Farce Singapore

 2011 - 2010 2010 2010 - 2008 2010 - 2007 2009 - 2007 2009 2005 - 2004 2005 - 2003

Public Lecture Series Coordinator Southern Californian Institute of Architecture Videographer Blaxium Schemata for a team of Graduate Researchers Exhibited in SCI-Arc Gallery ArchInterview Series www.vimeo.com/archinterview collaborator: Yaohua Wang Media Specialist Southern Californian Institute of Architecture Audio Visual unit Librarian Ray Kappe Library Fashion Photograher Los Angeles Fashion Week Event Coordinator Crossing the Line Singapore President’s Charity Event Fundraiser Police Inspector Public Affairs Department Singapore Police Force

 2010 2010 2009 2008 2007 2007 2002 2000

1st Runners Up Architects In Mission Open Competition Movie Set Salvation for Monsier Hulot used on movie set of Transformers 3 Exhibition Skinny Livin Exhibition of Student Works Exhibition The New(er) New Museum Exhibition of Student Works Scholarship Full Academic Scholarship Southern Californian Institute of Architecture Dean’s List National University of Singapore School of Design and Environment Scholarship Full Academic Scholarship, Italy United World’s College National Athelete National Rugby Player Singapore

 Modelling Rhino / T-Splines / Digital Projects / Maya / Grasshopper / Brazil / V-Ray / Mental Ray Design Packages Adobe CS4 Suite Technical (Basic) MEL Scripting / Arduino Circuit Boards / Processing

   Lenn/Portfolio2005-2011/Rheologic L Len enn/P n/Port /P Port ortfol f lio2 folio2 i 200 io 0055-20 005 -20 2011//Rh Rhe h olo l gic gi