M a t t h e w _ M a r t e n s e n R e s e a r c h & D e s i g n P o r t f o l i o 2 0 1 4
C O N T E N T S
Resume
4/5
Ara[x]nes 2013 UCL, The Bartlett Vertical_Belay 2013 UCL, The Bartlett Materialized_Webbing 2012-2013 UCL, The Bartlett Celestial_Evolvement 2013 Individual Research Fluid_Agent_Interjection
6 / 25
60 / 77 78 / 83 84 / 87 88 / 93
2013 Individual Research
Controlled_Plasticity 2010 University of Colorado Denver Gyro_Surface
50 / 59
2010 The NewSchool of Architecture
Auraria_Light_Library 2010 University of Colorado Denver Synthetic_Aqua_Ecology
44 / 49
2012-2013 The NewSchool of Architecture
Modulated_Space
26 / 43
2012-2013 UCL, The Bartlett
94 / 95 96 / 99
Resume Summary Matthew is an designer and fabricator who recently completed his academic architectural education were he completed two consecutive masters of architecture and design programs. He received his first masters degree from The New School of Architecture in San Diego in 2012 where he received honors for both his academic achievements and his final thesis design. Most recently he graduated from the University College of London’s school of architecture, The Bartlett, in September of 2013. During his year at The Bartlett he researched the design and application of new plausibilities in the fields of architecture and fabrication. It is through this research that Matthew has continued his investigation into the areas of contemporary architectural design through the use of both traditional architectural applications as well as contemporary design methodologies. With a focus on the contemporary framework of heterogeneous languages and fabrication systems he continues to explore new methods of computation and material research through the investigation of Bespoken systems. He focused on the development of DIY alternatives which allowed for an easily fabricated system using conventional materials in an unconventional fabrication method. Matthew is looking to continue his career in architecture and design within a well structured working environment where he can further develop his talent and utilize his abilities. He would excel in an architectural atmosphere that investigates design not only through the traditional lens but also examines the potentiality of new formal and spacial consequences.
Studies • UCL, The Bartlett
MArch Graduate Architectural Design, Architectural Research and Design
•
New School of Architecture and Design MArch Graduate Architectural Design
•
University of Colorado Denver MArch Graduate Architectural Design
•
Full Sail University Bachelor’s of Science, Entertainment Business
•
Full Sail University Associate of Science (AS), Film/Cinema/Video Studies
( 09 / 2012 - 09 / 2013 ) ( 07 / 2010 - 06 / 2012 ) ( 08 / 2008 - 06 / 2010 )
( 10 / 2003 - 07 / 2005 ) ( 09 / 2003 - 10 / 2003 )
Work_Experience •
New School of Architecture Thesis Studio Outside Advisor
•
Prologue Pictures Production Assistant
•
Check Six Productions Assistant
•
Associated Artists Assistant/Intern
•
Freelancer Cameraman / Video Editing
( 09 / 2012 - 06 / 2013)
( 01 / 2007 - 08 / 2007 ) ( 03 / 2006 - 12 / 2006 )
( 07 / 2005 - 01 / 2006 )
( 09 / 2003 - 08 / 2006)
Professional_Profile • Focused designer who works effectively and efficiently within a fast paced environment. • Personable hard worker who excels within a collaborative work environment. • Problem solver who thinks logically as well as creatively. • Detail oriented, self-starter who exercises strong design and organizational skills. • Energetic, team player offering outstanding growth potential in any capacity. • Passionate designer who continues to work at developing his design skills. 4
Matthew_Martensen
Software_Knowledge software
skills
level
Rhinocerous ® 5
( 3D modelling and fabrication processor )
advanced
Maya ® 2013
( 3D modelling )
advanced
Z-brush ® 4
( 3D sculpting, prototyping and rendering )
advanced
SketchUP
( 3D modeling , rendering and construction documents )
advanced
Revit ® 2013
( 3D modeling and construction documents )
Keyshot ® 4
( rendering )
advanced
V-ray ® for Rhino
( rendering )
intermediate
Adobe Photoshop ®
( image postproduction and design )
advanced
Adobe InDesign ®
( document layout and design )
advanced
Adobe Illustrator ®
( vector graphic design and construction documents)
advanced
Adobe Premiere ®
( video editing and compositing )
intermediate
Grasshopper3d®
( parametric modeling )
intermediate
• E mail : M att M artensen @ gmail . com • T el : + 1 (614)738 - 4012
intermediate
Fabrication_Knowledge tool
skills
level
Laser cutter
( vector cutting, raster engraving )
advanced
CNC
( 2d and 3D milling )
intermediate
MIG Welding
( metal fabrication )
beginner
SLS 3D Printer
( 3D prototyping and printing )
intermediate
Ultimaker ® desktop printer
( 3D prototyping and printing )
advanced
Woodworking
(model making and furniture design )
advanced
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A
r
a
[
X
]
n
e
s
stefan bassing / matthew martensen / efi orfanou / quiying zhong Ara[X]nes explores the aggregation and variation
only large, commercial design practices and
of weaving patterns throughout an adaptable
institutions were in a position in acquiring high-
aggregated system. Through the design of a
end equipment in their design. In developing a
single geometric object the focus was to develop
DIY alternative ara[X]nes allows for an easily
a design logic emphasizing the gradient shift in
fabricated system using conventional materials
differentiated weaving patterns within a membrane
in an unconventional fabrication method. Through
shell. This transition within aggregated elements
the use of simple knitting threads and resin, the
results in a morphological shift from structure to
final fabrication could produce a customizable
skin generating a rich network of patterning and
lightweight
variation. Inspired by the complex webbing of
new spatial scenarios and complex forms. This
spiders along the Pakistani rivers after flooding
systematic process allows users an operational
which results in a rare phenomenon of heavily
framework in which to work without the need of
colonized spiders. This clustering of thousands of
expensive alternatives and high tech machinery.
spiders within a close proximity results in a heavily densified webbing system. This webbing becomes a thick membrane skin that assembles within the structural frame of the surrounding trees creating a complex network of webbed architecture. This behaviour gave insight into both the possibility of design through the use of weaving patterns and the conversation between the relationship of structure and skin. Finally ara(X)nes is the development of a new type of fabrication, rooted in the understanding of traditional, hands-on craft combined with an expertise in contemporary computational concepts. Ara[X]nes explores the difference between contemporary computational design
and
low-tech
fabrication
methods.
Questioning high-end design fabrication methods, for a fabrication method consisting of both affordable and accessible materials. Until recently * araxnes is coming from the Greek word “αράχνες” and means spiders. 6
structure capable of realizing
7
references
“..Millions of spiders have climbed up into the trees to escape the rising flood waters in Pakistan... The branches are now so cocooned in spiders webs it gives the appearance of them being shrouded in a large net�. 1942
Linear Construction in Space, Naum Gabo 8
1960
Taraxacum Lamp, Achille and Pier Giacomo Castiglioni
After nature and spiders, many artists and architects have tried to simulate a membrane shell or cocoon structures by using innovative materials and ways. Starting with the Russian sculptor Naum Gabo and his collection named Linear Construction in Space in 1942, we notice the way he incorporates the technique of stringing so as to create his designed volume. No more than 50 years ago, brothers Achille and Pier Giacomo Castiglioni designed the Taraxacum lamp. A cocoon resin spray sticks on a white powder coated steel while it is rotating, so that the fibre is thicker in the protruding parts of the structure than in other areas. Reaching our times, Oyler Wu Collaborative Studio and their project Screenplay in Los Angeles in 2012, give us a perception of movement, as long as we discover its structural frameworks through a membrane made of rope strings.
Last but not least, the Research Pavilion, designed by academics and students from the university’s Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE), made in 2012 in Stuttgart. They programmed a robot to wind 60 kilometres of carbon and glass fibre filaments into this pavilion inspired by a lobster’s exoskeleton. Their research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.
2012
Screenplay, Oyler WU Collaborative
Research Pavilion by ICD and ITKE, Achim Menges and PHD studio 9
weaving design and fabrication Inspired and motivated by previous research into membrane and strings, we explored weaving patterns. First, in a more abstract way and then, in a more specific method through the use of computation. Digital and physical models gave feedback throughout the research process which assisted in the final design prototype From patterns that create surfaces, to patterns that result in indo-skeleton structures, we worked with various threads, techniques and motifs. Each pattern collected different performance attributes and delivered different structural loads. Talking about transition and moving from surface to structure and vice versa, we explored various patterns so as to express each transition’s stage appropriately. Weaving patterns that are denser seemed to work better when we wanted to achieve attributes related to surface, while sparser motifs worked better as structure. The idea of indo and exo skeleton bricks is strongly related to internal weaving patterns, making complete the transition from surface / exo-skeleton to structure / indo-skeleton.
* Aggregation of 4 bricks in a composition that could work either as a space divider or a free form installation.
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* Weaving gradient.
* Aggregation of 4 bricks in a composition creating a lighting element. 11
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pattern
internal + overlapped
fiber
cotton 2mm
colour
white
loops
2
pattern
internal
fiber
cotton 2mm
colour
white
loops
2
pattern
internal
fiber
cotton 2mm
colour
white
loops
1
pattern
grid
fiber
cotton 2mm
colour
white
loops
4
pattern
grid
fiber
cotton 2mm
colour
white
loops
4
pattern
crossing + twisted
fiber
cotton 2mm
colour
white
loops
4
13
final bricks fully covered _closing up the structure _one continous shell
0.40m
1 more extra notch on this edge to optimize the weaving pattern
weaving info
14
pattern
grid
fiber
cotton 2mm
colour
white
loops
1
semi covered _acting as moment of transition / connection between fully closed and mere support conditions within the structure (indo skeleton / skeleton)
0.40m
2 more extra notches on this edge to optimize the weaving pattern 2
weaving info
2
pattern
crossing + grid
fiber
cotton 2mm
colour
white
loops
1
15
skeleton _strongest brick, assembled in strands they form the primary support structure (lattice / scaffold)
0.40m
slightly changed gaps between notches so as to optimize the final appearance
weaving info
16
pattern
crossing + twisted
fiber
cotton 2mm
colour
white
loops
5
indo skeleton _acting as moment of transition / connection between semi closed and mere support conditions within the structure (skeleton)
0.40m
extra parts to achieve the internal weaving pattern
weaving info
pattern
crossing + grid
fiber
cotton 2mm
colour
white
loops
1
17
fabrication fully covered
1 loop
grid
semi covered
1 loop
crossing + grid
skeleton
5 loops
crossing
indo skeleton
1 loop
crossing indo
* Diagram of the final four bricks weaving pattern 18
assemble
apply wax
weave
impregnate
remove frame
* Start to finish bricks fabrication process. 19
final prototype
* Perspective of final fabricated bricks 20
* Final aggregation of fabricated bricks.. 21
22
* Large scale computational aggregation. 23
24
* Computational aggregation of bricks into a pavilion. 25
V e r t i c a l _ B e l a y matthew martensen / efi orfanou
Vertical belay is the investigation into the application
reflective of the material
of an aggregated spring system enveloped within a
generated
structural fiberglass membrane implemented into
Through the application of composite
the surrounding environment of the Grand Canyon,
materials,
resulting in a vertical community for extreme sports
fiberglass and resin, Vertical belay
enthusiasts and climbers in which they are able
establishes
to apply an adaptable system into their ecological
formal conditions along with the use of
environment. Through this design research the
easily applicable fabrication techniques.
focus was directed at the investigation into variable
These fabrication methods allow for
change through a differentiated patterning of a
an
complex weaving system within the application of an
through this application of DYI materials
aggregated spring system and fibrous densification,
and
investigated through the lens of both computational
Within these processes establishes an
and physical design processes. Within this application
adventure community that works within
Vertical belay establishes a design language based on
an evolving adaptive fabrication system
the physical interaction between two interdependent
that grows or dissipates based on the
systems along a cohesive geometric framework.
users
Integrating a design language, which seeks to
Resulting in an architectural system
develop a gradient variability in density and formal
that inverts the vertical condition into
resolution through an adaptive architectural system.
an inhabitable horizontal environment.
Through the use of a single space filling geometry the Bi-symmetric hendecahedron, and designed space filler have an active discourse between computational design methods (scripting, parametric modelling and abstract formal investigations) and physical prototype investigations. Within the discourse between physical and computational research Vertical belay centers on the application of sophisticated design tools, and the active design knowledge generated within a comprehensive feedback loop. In the implementation of a controlled computational dexterity design digitally forms 26
in
physical
which a
adaptively established
desired
prototypes.
include
complex
traditional network
growing
of
community
climbing
spatial
research
systems.
requirements.
references
Through the examination of existing architectural projects and the examination of naturally accruing phenomenon we sought to develop a formal language that established a system based on varying weaving densities. For example we were looking at the natural processes of spiders and silkworm and the different ways they both established a weaving system through the use of extruded silk thread, however using different methods and purpose. The bases for examining a spider and the method in which it establishes its web was fundamental to our research. The spider when making its web first cast base framework in which it then established the entire webbing system. This behavior is similar to the fabrication process developed in Vertical belay in which climbers cast a structural outline using ropes in order to generate a framework in which they can further establish a dense weaving network. The silk worm however casts its silk in order to produce a protective shell by casting silk out in a repetitive overlapping pattern. This repetitive patterning creates an extensively dense cocoon in which silk becomes an inhabitable volume. This behavior is similar to the way in which spatial forms are generated using fiberglass and resin. In the fabrication process of Vertical Belay, climbers use a repetitive patterning of fiberglass and resin in order to develop inhabitable spatial forms. It is through this precedence in which Vertical Belay sought to develop a fabrication method that established both a structural framework and a densification of fibrous material through the application of ropes and fiberglass materials.
Drawing and Representation II, Postgraduate Student’s Project at GSAPP (2012).
14 billion (working title), Tomas Saraceno (2010).
Silk Pavilion, Mediated Matter, Neri Oxman, MIT (2013). 27
final design
Vertical Belay created a structural system that allowed variable access to previously inaccessible regions of the Grand Canyon. Enabling occupants to actively engage in the local environment both through physical activities, such as camping hiking and climbing, and through the continual fabrication of a changing structure. Vertical Belay synthesized a relationship between a fabrication method that implemented ropes and tension systems with the activity of rock climbing, a relationship that capitalized on the inherent application of similar methods and materials in order to allow for safe participation. Through the application of fiberglass and a tension system Vertical Belay created a growing community of extreme sports activists that continuously interact within the canyons vast environment. This interaction was achieved through a complex weaving system which established a network of differentiated connections between local environments by inverting the inherent conditions of the vertical cliff into an inhabitable horizontal living condition. Through this shift Vertical Belay allowed for adaptive programmatic possibilities that gave climbers the ability to camp floating above a raging river or along the edge of a steep cliff. Within this constant change in programmatic requirements and the ease of construction, Vertical Belay will continuously evolve over the course of the structural lifespan into a complex network of evolving spatial applications.
28
* High resolution aspect of the cocoon areas . 29
master_plan Using the Grand Canyon as our site, we set paths throughout it for climbers to follow. The built structure expanded within the cliffs, creating either connections between points that were not available before (bridge condition), or places for them to spend the night or get some rest (extreme camping condition).Providing the ability to sleep above the water or float between two cliffs, the proposed structure offered the climber a unique experience, where adrenaline and peace are combined in an unconventional way.
* Suggested paths for climbers to follow. 30
31
digital study Moving towards the concept of a structure that would enhance and facilitate the experience of climbing, we worked within the site of the Grand Canyon in various ways to deform clusters of bi-symmetric hendecaedra. By creating either bridges, spots or paths, we tested different ways that the structure could be attached to the cliffs and what spaces could be produced. In computational aspect, we experimented with multiple software’s and techniques so as
manipulation of form through the application of zBrush
to find the proper one: from zBrush to Maya and Rhino, each of these programs offered interesting qualities and potentials. For that reason, we decided to use all of these applications in order to set the final procedure, which include nCloth in Maya, zBrush and Rhino.
manipulation of form through the application of nCloth in Maya
manipulation of form through the application of average vertices in Maya 32
Branchy brick N.1 and an aggregation of it.
Branchy brick N.2 and an aggregation of it.
Branchy brick N.3 and an aggregation of it.
33
Although the structure defines space in the site, there is no spatial definition within the structural framework, requiring an additional layer of resolution in which we applied a secondary fiber system. 34
*Aggregated brick N. 3 performing various densities / Realistic perspective view of a composition of N.3bricks, on site.
*Aggregated framework thought the canyon site. 35
* Optimization of the rational framework to a higher level of design resolution . 36
* Applying a densified weaving skin mesh in order to create inhabitable areas. 37
setting diagram of fabrication process on site
Initial lines to define space.
38
Setting the infrastructure.
Addition of fibers to shape the cocoons.
Rope to rope knots which connect aggregated parts to one another Bolted chain connection: connecting the tension framework to the canyon face
Strap lace carabiner connection: A connection that splices the tension framework together
Spliced carabiner connection: Connecting the tension framework to the aggregated parts.
Bolted connection: connecting the tension framework to the canyon face. 39
40
*Perspective of the final system after fiber application. 41
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M a t e r i a l i z e d _ W e b b i n g matthew martensen Materialized Webbing was designed as an exhibition piece for the finally gallery of the Bartlett’s GAD final gallery. The design agenda was to encapsulate the design focus of the research cluster. This agenda was focused on the comprehensive understanding of geometry, modeling and fabrication research that became the focuses thought the design process of Materialized Webbing and the focus of design over the course of the year. Materialized Webbing originated through the combination of packing geometries and the aggregation of designed packing bricks. Through this aggregation process geometries could be sculpted within the area of the design space and manipulated using Maya simulations. Simulations that investigate the fibrous systems and webbing network and how these geometry can be generated into a designed space. Through this method of using packing geometries and Maya simulation a computational webbing could be sculpted and a 3d model is generated and then used for the purpose of creating a final 3d printed sculpture.
44
45
final application
Internal Vectors
Aggregated Bi-symmetric
Internal Brick
Aggregated Internal Brick
Bi-symmetric hendecahedron
46
Internal Brick and Maya Simulation
Digital perspective of final model.
Top view final model.
47
Digital model.
3D printed model.
48
Final model in display case.
49
C e l e s t i a l _ E v o l v e m e n t matthew martensen
Architectural visionaries such as Peter Cook, Paolo Soleri and Lebbeus Woods, looked at the potentiality of design and how design inspires new ways of thinking both within architecture discourse and cultural understanding. Through their visionary design investigations these architects were able to question architecture and the way people experience the built environment through architectural
Innovative thinking
ideas
that
conceptualizing
progress social
impacts of formal application. It is through this visionary thinking that Celestial Evolvement was envisioned with the design intent to examine new possibilities of formal language and how the design and manipulation of form affects the surrounding environment. Celestial Evolvement was a computational investigation into the possibilities of reestablishing landscape through the symbiotic relationship between an artificial construct and the natural environment. With the re-imagining of Modulated Space, Celestial Evolvement’s design is a surrealist formal visualization reflective of the surrounding environment. Enveloping the characteristics of the natural environment Celestial Evolvement establishes a connection within the landscape through the development of an organic formal language, a language developed through the use of computational tools, tools which allow for the application of organic formal qualities and the formal manipulation. Finally, Celestial Evolvement stretches the imaginative possibilities of design and architecture, questioning how architecture and environment equally affect one another.
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F l u i d _ A g e n t _ I n t e r j e c t i o n matthew martensen
Fluid Agent Interjection was the process of investigating the possibilities of design through the use of a single material and how that specific material could be implemented into architectural design. The material used was a cross-linked polymer that would be the focus within this design process. In the application of a compound material the objective is to design without the use of atraditional framework commonly used in traditional applications of fluid materials, however still maintaining fluid materials ability to seamlessly and continuously build upon itself. Here, I broke away from the traditionally static systems used within conventional architecture and looked at a more dynamic system of architecture. Conventional architectural methods sought stasis by minimizing variety in structural elements, spatial models, and material quality. It emphasizes repetition, symmetry and continuity, generating form as a way of resounding to a specific behavior. In this traditional method of design architects look at a specific behavior and then predetermine an architectural form that responses to that specific behavior. However, these processes of developing form results in an architecture that is static and incapable of variable change to the surrounding environment. This project addressed the method of material agency which seeks to embody difference in degree among its parts of the same kind, in order to emphasize variation across the interrelated parts of a whole. Separating from the traditional methods of form generation, this work ultimately sought to reveal a rich network of interactions generating forms that exhibit Adaptation, Differentiation, Variation, Complexity and Customization.
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references The primary references in this design process were Antoni Gaudi and Frei Otto who both applied material studies, through the use of prototype investigation, into their design process, and investigated new possibilities for materials and their application within architecture. In these formations of form development they went through a process of prototype development that gave insight and direction into the resulting form. Their investigation into material application was not only focused on the process in which each material was developed, but also in the way that material is consequently used in the development of form and design.
*Frei Otto material study of fluid and fabric tension *Branching L-system
*Frei Otto material study of fluid and fabric tension 62
*Funnel web spider web
material The compound material used in this research was a cross-linked polymer, a polymer formulation of sodium borate (Borax) or sodium tetra borate in conjunction with a polyvinyle alchohol (PVA) solution. When dissolved in water, sodium borate dissociates into sodiumions and borate ions. When the polymer is present with PVA, the borateions interact with the polymer chains and form cross-linking agents. Cross-linking agents are ions that help temporarily connect polymer strands with relatively weak ionic bonds. These bonds are strong enough to hold the polymer strands together but not strong enough to make the mass a solid resulting in a slime like fluid.
PVA: Polyvinyl Alcohol H
C
OH
H H
C
H
C
OH
H
C
H
The straight-chain PVA will cross-link with the tetrahedral borate anion, which is generated from borax.
H
C
H H
C
H
C
OH
H
C
H
OH
Polyvinyl Alcohol
HO
+
OH
=
B HO
OH
Borax, Sodium Borate
H
C
I I
C
II
C
O
H
C
H
O
B
O
C
II O
C
II
C
H
H
C
H
H
Slime
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prototype and material investigation Overlapping and folding of the polymer can cause differentiation within a section. These folds can also increase the strength of a section.
Adjacent sections slumping polymer increases strength and rigidity around edges.
Thinnest possible section that dose not brake during assem blage. This is generated by stretching polymer very thin and quickly drying it before it has time to break or separate.
trength
trength ransparency
lasticity
lasticity
igidity
igidity
+
Transparency
Elasticity
Rigidity
+
Language
Gridded Formation
White G lue 100ml
+
Q uickdry G lue 100ml
+
Language
Gridded Deormation +
+
+
Hot Water 100ml
Liquidity
+
Total
Polyvinyl A lchohol 4g
+
+ B orax 4g
+
Total
+
White G lue 100ml
+
Q uickdry G lue 100ml
Hot Water 100ml
Liquid S tarch 100ml 400ml
Bonding
Hot Water 100ml
300ml
+
+
Polyvinyl A lchohol 4g
+
Hot Water 100ml
+ B orax 4g
=
400ml
Elasticity
Bonding
White G lue 100ml +
Q uickdry G lue 100ml
Hot Water 100ml
+ B orax 4g
Elasticity Liquidity
+
Dry Time Controllability
White G lue 100ml
=
Total
+
+
Dry Time Controllability
=
Hot Water 100ml
+
Rigidity
Polyvinyl A lchohol 4g
=
+
+
Strength Transparency
Elasticity
+
Building up polymer around corners and edges allows for a much stronger and rigid structure. It is possible to apply extra polymer after a section is dried to increase strength in the corners.
Capillaries can be generated by applying a small amounts of stretched polymer over a drying section.
ransparency
Strength
polymer provides structure uous network of fluid
-
Total
Wrinkles add structural strength and a unique texture to the dried polymer.
400ml
ing polymer gidity around
+
Strength
Controllability
Elasticity
Elasticity
+
Language
Single Surface
White G lue 100ml + Iron O xide 50g
+
Rigidity
Single Surface
White G lue 100ml +
+
Polyvinyl A lchohol 4g
+
+
+
Hot Water 100ml + Polyvinyl A lchohol 4g
200ml
=
Total
+
Liquid S tarch 100ml
+ Polyvinyl A lchohol 4g
Water 100ml 300ml
Bonding
Hot Water 100ml + B orax 4g
=
Total
Liquidity
Bonding
+
Liquid S tarch 100ml 200ml
Liquidity
Hot Water 100ml
=
Total
+
Language
+
Dry Time
Controllability
Elasticity
Liquid S tarch 100ml
+
+
Dry Time
Transparency
Elasticity Rigidity
+
+
Strength
Transparency
=
polymer results ion. The build m a structural bulge.
-
Total
200ml
Wrinkles add structural strength and a unique texture to the dried polymer.
+
Dry Time Building up polymer around corners and edges allows for a much stronger and rigid structure. To have a structural integrity the polymer needed to be thick and opaque, however by not filling the entire structural grid generates multiple apertures.
+
Strength
+
Transparency
White G lue 100ml
+
+
Liquidity
Hot Water 100ml Total
+ +
+
Polyvinyl A lchohol 4g
+
Hot Water 100ml
+ B orax 4g
Bonding
+
H ot Water 100ml
Hot Water 100ml 700ml
+
Q uickdry G lue 100ml
Total
+
+
Polyvinyl A lchohol 4g
+
Hot Water 100ml
+ B orax 4g
=
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Elasticity
Bonding
=
+
Controllability
Elasticity
Play S and 100g
Elasticity Rigidity
Controllability Liquidity
+
Dry Time
400ml
Polymer has the capability of becoming one continuous surface that integrates into multiple grid point.
final prototype
One of the behavioral aspects of the polymer is it’s heightened response to light. In particular in the way changing light color affects the overall appearance of the pavilion altering the way it looks and responds to the surrounding environment.
* Final prototype pavilion 65
final application
The final application was implemented into a natural landscape scenario. This scenario was a 2 part system that integrated and adapted within a network of trees, developing complex controlled formations through the application of a computational mesh and a polymer fluid. The first system, the mesh, is a coded system established through the connection of the surrounding context and the application of a computational physics’ engine. This mesh provides structure because of it constant tension, suspending the formation. The second part of this system is the fluid which provides spatial definition and variability, giving the inhibitor the ability to adapt to its surrounding environment quickly and efficiently because of the polymer’s fluid nature.
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code As a result of the analogue prototype investigation it was determined that the polymer needed to be integrated into a tension structure system to help hold the polymer in a constant state of animation. In order to achieve this, structural system coding was introduced in the form of Processing and an iGeo library replicating the physics of a tension mesh structural system. Coding became not only important in the generation of the mesh structure but it also gave necessary control over the design of the final forms.
* Mesh under physics tension. 68
* Site Plan
*By evaluating the surrounding tree conditions, the exo and indo skeleton are formed. Then through Processing a tension physics is applied.
* Exo and Indo skeleton after physics is applied. 69
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1
2
1
2
2
1
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M o d u l a t e d _ S p a c e matthew martensen The primary design strategy of the library was to create a connection between the city and the waterfront; a dichotomy that has become more common in San Diego in recent city development. To demonstrate this connection, the library must link the waterfront and the city’s edge while still joining the two using multiple programs and circulation. Within the major circulation of the building there is a bridge to provide a safe pedestrian through-point from the water to the city. With the use of the Voronoi diagram, the library and market spaces are established creating a series of similar but different spaces. These modulated spaces create the organization of each programmatic element, an inherent circulation path and creates creating individual spatial adjacencies. The space developed not only informs the spatial relationships and organization of the library but also establishes a design strategy that was then implemented throughout the overall design. The framework established highlights the design of the structural and roof systems as well as the relationship between the two systems.The framework also establishes a dialogue between the two pragmatic elements both in the visual adjacency and the formal variations of each space.al forms.
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The primary design strategy of the library was to design a connection between the city and the waterfront; a dichotomy that has become more common over time. To demonstrate this connection, the library must link the waterfront and the city’s edge while also still joining the two using multiple programs and circulation. Within the major circulation of the building there is a bridge to provide a safe pedestrian through-point from the water to the city.
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* Module Section.
*Section Perspective. 80
* Module Axo 81
* Library Perspective.
* Market Perspective.
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A u r a r i a _ L i g h t _ L i b r a r y matthew martensen The Auraria campus is unique because of the diversity of its students and the disciplines it encompasses—and the library is the crossroads of this community. However the Auraria library has become significantly outdated, lacking in essential educational infrastructure and adequate student facilities. The campus needs to make changes and additions that allow for resources that exceed those of the traditional library. It needs a beacon for the school that will appropriately represent its strive for educational excellence and support for student success. The updated library aids in bridging the current divide of the Auraria campus and the adjacent downtown. The library also helps facilitate the development of the students education by providing classrooms, digital media sources and an increase in the library’s digital and book catalogs. It also provides the opportunity for some students to actually reside within the library’s living center. With the addition of these facilities and resources, students will be more encouraged to live downtown to be closer to the new offerings..
* Physical Model 84
environmental systems Screen Daylight Protection Reflects solar radiation as well as casting diffused light into the living areas. The mesh is made from coated steel which provides a passive cooling system that has a long operation time line.
Screen Night light Transparency The mesh allows for a transparency at night allowing the building interior light to flood out illuminating public space. This allows for a safer surrounding area at night as well as allowing for a public private interaction between the building and the surrounding context.
Screen Reflects solar radiation as well as ten casting ambiant diffused light into the living areas.
Hot air is ventelated through the screen and the buildings glazing. The air can then be used as a heating element for the resedents during cooler months or vented out to lower air conditioning costs.
Fourth Floor Resedential 60’
Third Floor Resedential 50’
Second Floor Resedential 40’
First Floor Resedential 30’ Reading Room 26’
Second Floor 19’
First Floor 5’
Grey water tank captues rain water to be used in the watering of the green roof and othe landscape elements
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S y n t h e t i c _ A q u a _ E c o l o g y matthew martensen
Synthetic aqua ecology is the final design realization of the research and application of synthetic biology in an oceanic environment. The formal interpretation developed by ocean research and the formal characteristics of an artificial oceanic eco-system and actual biological science. First, I investigated marine life, ecological systems and how they live within the ocean. Along with this research into ocean systems I investigate the application of a new field of research, Synthetic Biology, a field of research that looks at the design and construction of biological devices and systems for useful purposes and application. Synthetic aqua ecology is the resulting application of a synthetic biological organism and the structural formation generated from this organism’s designed behavior when implemented into an oceanic environment. In the case of Synthetic aqua ecology, the application of a designed micro-organism performs the specific task of detecting toxins, breaking down pollutants and repairing dying ocean life. Through this designed biological behavior, the resulting structural formation is generated through a purification process in which ocean pollutants are attacked and metastasized into calcified structures incubated by the pollutants found in the ocean. Consequently, synthetic aqua ecology is the designed application of microscopic, living machines, machines that sense and purify toxins, offsetting the affects of ocean pollution. The ecological result from this purification process is a synthetic eco-system that lives and grows off the pollutants found within the ocean. Synthetic aqua ecology proposes the potential offset of the current ocean destruction in favor of a biological system that grows and feeds on oceanic pollutants. Thus, creating an artificial eco-system that takes the negative impacts of human global inhabitance of pollution and re-engineers them into a biological oasis. Through the use of biological synthetic possibilities, Synthetic aqua ecology works as an oceanic filter, providing new aqua ecologies for marine life resulting in a free floating system where synthetic organisms are applied into heavily contaminated ocean environments. These negative environments will allow for the organism to grow and as pollutants are dissipated, the system will consequently break off and die leaving an artificial calcified coral environment. However, the beauty of the system is a contrasting realization of the consequences of pollution and the affects of human industrialization. Through this application of synthetic biological organisms both design and science can influence new ways in combating growing oceanic pollution and consequently re-engineer the ocean’s eco-system starting from a molecular level. 88
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Biological_influences Synthetic aqua ecology reflects the jellyfish’s physical and biological makeup reflecting the mesogloea that make up the creatures cellular structure. A structure that allows jellyfish to float within a nutrient rich environment, synthesizing collected nutrients into maximized growth and energy efficiency. This biological makeup is the cornerstone of how a synthetic organism’s biological behavior would respond to a polluted oceanic environment. Floating as a biological slime feeding off pollutants manifesting in growth and cellular replication..
The growth of flowers or hair like members would become a natural evolution of a synthetic ecology living in the ocean. These hairs are an evolutionary response to the biological necessity which would maximize in the collection of micro-pollutants and the growth of a natural eco-system.
Synthetic aqua ecology’s form growth and calcification reflects the calcification and growth of coral. Synthetic aqua ecology like coral is a metastasizing organism that develops it’s structural makeup based on the surrounding ecological environment. Each grow in a heterogeneous structure quickly or slowly dependent on the nutrients or pollutants available for the organism to feed from.
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Calcified structural formation resulting from the micro-organisms purification of oceanic toxins.
Organism flower growth enables pollutants to be collected and metabolized.
Dyeing calcium structure.
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C o n t r o l l e d _ P l a s t i c i t y matthew martensen
This project began as a material investigation of concrete and plaster that questioned the traditional conceptions applications of these material properties as visually heavy and inflexible. The goal, with the design of the wall, was to show that these materials are not just heavy and unyielding but can be viewed as more dynamic and transformational. In order to achieve a change in plaster’s traditional material characteristics, computer aided design strategies were utilized along with scripting. Through this use of parametric scripting an infinite number of wall design variations, based on multiple parameters, could be generated and then extracted into the final wall design. The script editor Grasshopper in conjunction with the 3-D modeling software Rhino were used to developed the wall’s surface variations and the final form. Two Grasshopper scripts were written in the process of developing the final design. The first was used to create the wall’s ribbed structural elements and the second script was written to create a parametric wall surface using undulated dowels, which established an infinite number of controlled variations. From these infinite numbers of variations, the final wall design was extracted and built. The wall’s design shows how traditional materials and contemporary technologies can be used to create an innovative dynamic wall design that challenges traditional conceptions of materiality. Only two materials would be used in the wall’s final design which included, quarter inch plexiglass and modeling plaster. The plexiglass was used to help establish the perception of a light weight wall even though, in actuality, it was over 300 pounds! The design of the rib structure gave the plexiglass the ability to support the panel’s weight. The modeling plaster was formed from a mold designed in Rhino and Grasshopper and made from wood dowels and fabric. This building method established a control over the wall panels building process. This also established flexibility within the panels fluid surface design resulting in a wall design with a lightweight, fluid perception.
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Dowels, Ribbed Structure and Fabric
Dowels and Fabric
Final Wall
Undulated Dowels
Wall Panels
Grasshopper Script
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G y r o _ S u r f a c e matthew martensen Gyro Surfaces is a generative design process looking at the design potentiality of packing geometries through the lens of contemporary computational design and low-tech fabrication methods. Initially investigating the inherent packing and geometric qualities of the gyrobifastigium and evolve it, while still maintaining the original packing logic. The evolution of the gyrobifastigium geometry allows for a sophisticated 3 dimensional configuration of a heterogeneous structural system. Within the design of the gyrobifastigium the objective was to design a complex aggregating system using double curved surfaces. These surfaces will aggregate together generating dynamic spatial and formal networks. These networks because of their aggregating logic develop a system that can then be applied into multiple applications such as wall partitions, furniture and lighting design.
* Aggregated components form a wine case. 96
*Aggregated surface gyro into a wall formation. 97
fabrication
* Component
* Digital model of fabrication mold.
* Physical one to one model 98
* Silicone casting mold
* Physical one to one model 99