Thesis_Tarek_Rahmani_Bio-Digital_Esarq_2017 by Rahmani Tarek

Acknowledgments: ..................................... 3 Personal Interlude ................................ 4 Interlude ..................................................... 5 Introduction .............................................. 8 The first week: ................................... 12 01 Introduction to Bio mimetics .... 15 How to mimic......................................... 16 -You watch form……………………………….…18 -You Watch behavior……… ………….. …….17 -You watch code………………………………….19 The Drawings:....................................... 20 -You watch form…………………………………22 -You Watch behavior……… ………….. …….22 -You watch code…………………………………..23 Bio-Digital Literature ................... 23 02 Faberarium Workshop ..................... 49 03 Algorithmic Architecture ............ 54 On Movement .......................................... 56 On space ................................................. 57 On Space Genesis ................................ 63 Growing Fluidity………………….………… 68 04 Digital Theory.................................. 87 05 The Loop Of Design .......................... 96 06 Genetic Architecture .................... 100 Conclusion…………………………………..…...109 Bibliography……………………………......…112

Acknowledgments:

To my parents, my friends and my professors. To my country, my brothers and sisters. To everyone that contributed in this work directly or indirectly. And mostly, to you, one minute later.

Personal

Interlude

My experience was simple. On mind and watchfulness. This thesis handles the bio-digital experience, I had, as part of the inputs in my Life. And the drawings, as output and prints to those concepts. This is a mere documentation of the journey. Hence, this essay was written in a chronological order.

‘’I recall clearly wanting to calm my mind. I have always been intrigued by the dynamics of this world. But for once, I stopped. I sat down and stopped the motion. Another was born.’’

Interlude I began writing this book to propose that reason may not be as pure as most of us think it is or wish it were, that emotions and feelings may not be intruders in the bastion of reason at all : they may be enmeshed in its networks, for worse and for better. The strategies of human reason probably did not develop, in either evolution or any single individual, without the guiding force of the mechanisms of biological regulation, of wich emotion and feeling are notable expressions. Moreover, even after reasoning strategies become established in the formative years, their effective deployment probably depends, to a considerable extent, on a continued ability to experience feelings. (Damasio)

Upon my arrival to Barcelona, I had a couple of days before the masters started. I took the opportunity to disappear.

The drawings were new to me. For years, I drew what I have been told to, how I was told to, mostly architectural illustration. But not this time. I stopped every external and internal forces. By external I refer to every utopic-related aspect. And by internal I refer to the goal-oriented method of thinking. You may be familiar with the process as meditation. I don’t like labels. I was searching for a static state. I found silence when drawing. The Language was new to me. Yet I understood it. The first time I didn’t take my pen off the paper for six hours. Then I looked at it, only to see a pattern.

Regardless of the motive, I recall clearly wanting to calm my mind. I have always been intrigued by the dynamics of this world. But for once, I stopped.

They didn’t feel like six hours. They didn’t feel like anything at all. Time stopped.

I stopped the motion. I did not want to think. No attribution. No purpose.

I wanted to do more and more. For the second drawing, I reached for the watercolor in my bag.

In that silence, I found myself drawing for hours.

What is this? Who is this? How can I draw this?

This thesis delivers my experience through the bio-digital masters, in analogue to exploring the new found hobby.

Another expression was made. Another behavior. Another typology.

What is this? Who is this? How can I draw this?

1 Mind Pattern- Personal drawing

6 3 Mind Pattern

2Mind Pattern

I watched how the patterns behaved with the colors: ‘’sometimes Thoughts englobed reality, mutating them. Sometimes forces enhances the reality delicately’’.

I didn’t pay much attention to this though. Again, I was refusing any utopic aspect. I didn’t build more narrative on it. Now I realize that I acted upon that concept purely and naturally. Further behaviors are yet to be explored.

The Colors

Narrative: invaded

the

patterns.

I remember after applying the watercolor, a concept came to my mind: ‘’Patterns are thoughts.Colors reality.’’

forces, structure, are life, feelings,

4Marina - personal drawing

Introduction ‘’would you like to know the abridged history of almost all our misery? Here it is. There was a natural man: an artificial man was introduced within him; and a lifelong civil war broke out in the cave.’’ (Diderot, 1772)

Humanity has clearly behaved in a dictator selfish manner. Regardless of nature. This rational thinking have led us into the current essay of handling life. Is life supposed to be this Hard? Natural systems seems to function smoothly. While the man is trying too much. Common awareness have been rising for some time now. According to Denis Diderot text’s, humanity went wrong the moment artificial man was born within the natural one. By artificial he refers to the unnatural. And by natural he refers to the instinctive, intuitive, animalistic and nature belonging man. From this point of view, the unnatural man is the thinking man, the being that is trying too much to control and to reach his desires, not needs. The difference is huge, yet the line is very thin between both men: A natural man plays, while an unnatural one play games. The first is happy when playing, the other is happy only when he wins. The first can live in the cave all his existence. The second will control the cave, and seek beyond, outside. ‘’But, finally, tell me, must we civilize man, or abandon him to his instinct?’’

I had a question that I repeated to several of the professors I had:

did architecture begin in the cave? Or when the man built artificially? The majority claimed that architecture started the minute man exited the cave, and built a mansion. Maybe their definition of architecture started only then. Basically, with their statement, they separated the architecture from the natural man, mentioned before. Which is True, there is little natural about the common definition of architecture. But the man built a mansion on which image? Personally, I believe Architecture began the minute man took the cave as his shelter. At the time, the cave provided envelope and protection. Both cases, are the manifestation of ‘seeking the Nirvana of the womb’’, that Darwin refers to. In the womb, we are protected, fed and growing effortlessly. Then the catastrophe occur and we are pushed out to this realm. Darwin states that every action human takes, is an essay to return to the womb. Also, he describes the womb as the first Architectural experience for man. Based on this theory, every artificial creation is a complement, an effort to recreate that initial state. What I was unable to express, or concrete, is the deviation artificial-human took. Artificial is not necessary wrong, but we are not artificial, we are natural. Yet we are not totally natural, that is why we escaped the animal kingdom. Human have the will to escape the natural order. Some glorifies the humans as the freaks of nature. But are we?

Truth is, all is nature. And the human mostly

ignored nature with a sense of escape. But all we are doing, is disrespecting nature while remained connected.

greens. The dilemma here, is that from this natural act (the Greek observation), the artificial man build his world.

Hence, what is truly artificial, is the behavior not the creation. The natural man behaved naturally, the artificial man behaved artificially.

Architecturally, we were stuck with Greek orders. Ultimately, the renaissance and what followed were mere deformation not an escape. I come from a Middle Eastern culture, and I have felt the presence of these illusions more in the western culture.

In the end, the common awareness that is rising in our time, is an attempt, to be artificially natural. The concept is not easy to follow. Within artificial behaviors. Infinite Illusions emerges.to distract us. Illusions fade, reality remains. Let’s take the example of Computation .The human now have created and explored the virtual world. Which is an artificial realm. But humanity got caught in what Dr. Alberto referred to as the computer illusions. This thesis will not address the illusion phenomena. But I would like to refer to ask a question: Can illusion grow? Can illusions persist? Or behave on their own? In order to escape any illusion, remain a watcher. This eastern practice have been recently introduced to the western culture as meditation. Yet the act in itself is natural for humans. It seems that the artificial man forgot how to observe. Such a shame, because either ways, he is going to receive information visually. I am saying, that is it better to be conscious about the income of data, then to try and try and try and manifest that data unconsciously. Dr. Alberto used the term ‘’Harvest’’, which I am going to use to refer to the information processing in the human mind. These inputs are the seeds, the way they grow is our processing and choices. Since the recorded history, observing the process was later called philosophy by the

It is only recently, that architecture have been shaken out of centuries of illusions. Illusions of typologies, materiality, constructions …. These illuminations have been through scientific advancement and research. The human history is a composed by fragments of realization. Mainly realizing forgotten things. It is for this cause that I used the term ‘’recorded history’’. When the Greeks, the observers, reached Babylonia, they found a 2000 year old existing astrology and science. With no theory. Now, you may referee to my refusal to any narrative in the drawings. Coming from a Middle Eastern culture, I can identify now the natural phase of the Islamic philosophy, and the artificial illusions that limited the culture. Truth be told, nowadays, there no regional culture anymore. All of humanity is living the same illusions, in degrees. In other words, the natural man expressed himself, while the artificial man recorded himself. The last statement is wrong, I cannot eliminate all records as artificial. This has been my personal quest during the masters: How to be Think naturally.

can assume that such manifestations came from natural behaviors. That later developed into Phantoms as well. Thus the enlightenment/darkness cycles of religions.

Architecturally

5Prehistoric cave painting https://www.pinterest.com/pin/122300946109569798/

This led me to the earliest human records, which are the pre-historic cave drawings. Here, the man wasn’t trying to impose an idea. It was prints of their reality. My question here, Why? Why did man draw? In consequence, why am I drawing? Yet the act of reproducing life in a 2 dimensional support, manifested the man’s reality. Also, by doing so, he escaped his reality, as a watcher.

Human Sought the Nirvana of the womb that initial state of being protected and fed. As mentioned before, the natural man is intuitive, .He inhabited the caves. The cave was (is) his architecture. And then, man created his cave, his own architecture. The envelope that he artificially created was nothing of his creation. It was a selective reproduction of his interests in the cave. If the man is trying to reproduce the original embryos’ nirvana. One should note that besides the physical envelop, the womb provided full protection, nutrition and rest. Though, the man ultimately sought this comfort, through additive tools and enhancement.

This behavior have been exclusive to man. Through history, whether it is the art of drawing, or the art of writing. The illumination in human history came from the natural behaviors: Their actions were not conditioned by goals or thoughts, they were driven by concepts and symbols, not utopic ideas and rules. What created confusion in me before, was that the utopic concept, was created in a non-utopic manifestation. Again, the Greek philosophy have been one of the enlightenment humans had. But the Greeks did not create the phantom that followed. I would like to point another case of enlightenment in history, which is the religions. I am not addressing the topic from the divine point of view. But if we observe the impact of religions on humanity, one

Perhaps it is that ultimate static state is the reason behind all of humanities’ dynamics: We are trying to reproduce it, through tools, arts and all human expressions. So when did we manifest artificial behavior? Correction, how did we manifest the artificial behavior? Personally, I believe the artificial man was created when the behavior itself becomes static. Ignoring the responsive aspect of behavior caused its constrictions. These constrictions are the ‘’given’’ truths, the income that we don’t rethink or process. When people behave based on a static information and lose their interactivity that is when human becomes artificial. This is the case for social, religious and

political constricts. Science, in the other hand, poses questions, and in consequence, leads to observations.

6 Judgement personal drawing

It is no coincidence that the meditation process have one simple rule: to remain a watcher, an observer. Actually, this rules relates to all religious manifestation. As every prayer in itself is an escape of our utopic realm and thoughts. To an even more detailed example, counting the cheeps in our heads to go to sleep, is a form of watchfulness. This has been the case for humanities large scaled catalyst .The disasters and wars, snatch humans from their pattern of behavior, or what people refer to as comfort zone. Resulting in new natural manifestations afterwards.

even the car. Thus, purposeful forms are the language of their own purpose. By means of the mimetic impulse, the living being equates himself with objects in his surroundings. Theodor Adorno functionalism today in Neil Leach: Rethinking architecture. A reader in cultural Theory. The aim of the current efforts of humanity, is to make these artificial systems natural. In terms of behavior and process. Which poses a problem: these systems mostly are programmed. Thus humans created their behavior. Yet in order for them to be natural, they need a dynamic behavior. Not a limited pattern. Recently, the memory of systems have created a flexibility within these artificial lives, and, in the near future, we will be living with synthetic nature. This is a form of domestication of life by humans. The aim of the research happening in the world right now, including our presence in this masters, is to learn how to be Artificially, Natural.

To resume, escaping the cave for man, was not an artificial act. But making that new cave our fixed reality, thatâ&#x20AC;&#x2122;s is artificial. Note: mimicry is a natural behavior, yet it. Can be artificial when it lacks observation. Thus, the evolution of human is an inevitable natural process. --------With this said, human now have created artificial systems: Our tools have developed artificial intelligence and we are creating interactive relations with them. According to Freud; symbolic intention quickly allies itself to technical forms, like the airplane and according to contemporary American research in mass psychology,

7''NirVana'' Personal Drawing

The

first

week:

the first week of the masters, we were accompanied by Dr. Judith. To discover the artistic history of Catalonia, mostly Gaudi. I realized afterward, the reason we had this introduction week: The city was blooming with art and life. I am not reciting the commercialized visions of Barcelona. I am referring to the heritage passed on in this city. ‘’People seek the craziness here’’ Judith stated.’’ Barcelona is an open minded community, in terms of accepting unusual expressions’’ It was true. The city was filled with energy. I felt the dynamics of the diversity. As Dr. Judith stated, people admired and encouraged the new exotic expressions. Is this behavior the result of Gaudi’s influence? That was my initial though. Which proved to be wrong. Gaudi was Gaudi because of Barcelona. And Barcelona is Barcelona because of Gaudi, Dali, and Cerda. Dr. Judith explained how it is all happening here, at a small scale. What had been glorified like Gaudi’s building or Dali’s painting, Was just a ceased moment in their lives. Sometimes pushed. Sometimes spontaneous. I realized that it’s all happening right here, right now. I wanted to know more about them, how they lived, how they perceived, how the behaved. We spend a day in Salvador Dali’s

Museum in figures. The field trip was enlightening to me, as I was curious to get to know him. Seeing Dali’s first paintings, why he drew them and how he drew them. It was overwhelming. But two paintings caught me the most

Dr. Judith told me, that the pink, was present in most of Dali’s painting. That the pink, was his confusion: Male/female, body / mind, thoughts/feeling. Lorca and Gala. I was stunned, this leader is implying his life, his feelings and his confusion within his masterpieces. He handled the manner in a sophisticated personal innovative behavior. Most importantly, it was the expression of his life.

Then it is okay to be subjective? Dali was subtitle and affirmative about it. My head was saying: ‘’ it’s all happening now’’ Dr. Judith confirmed that thought and added that it is okay to be subjective in a smart way. The second artwork I stopped at was the Eye. I remember standing for a

couple of minutes in front of the art, trying to understand it. It confused me. I only realized that, once I got home. That night, I wanted to draw the new discovered patterns. Instead I got this. From this point, it became clear to me that used Dali’s eye as an input. Interesting! 10 personal drawing

Have seen is building. But during the week with Dr. Judith, she introduced another Gaudi for us.

8Dali's eye - author's picture

During the same week, Dr. Judith introduced us to Gaudi, Who is considered a school of architecture in itself He have set the path for many contemporary directions of architecture. His major highlight is the nature inspiration in Design. Gaud I turned to nature when no one did. His tuned to nature in hope of optimizing the performances of his buildings, structurally and functionally. Actually, the organic morphologies and the curvature he expressed provided fluidity of perception and of usage. All of this information and more can be accessible from any internet or website. I have learned about him before and I

She explained the nature of his intentions, not his physical expression. The man connected with his creations. Literally. His frequent visits to his design showed a sensitivity towards time. He didn’t deliver dead shells, he provided constant care and growth in time. Also, I have heard and read about the Sagrada Familia’s conceptual model made by Gaudi. Yet this time, I got to see the configuration and the connectivity he created. This wasn’t nature inspired design. This was a documentation of a behavior: behavior of forces, of masses, of the flow of the forces and it’s resulted ‘’logic of structure’’.

9https://www.flickr.com/photos/qwghlm/2078758606Sa grada's familia model by Gaudi

02 Introduction to Bio mimetics Biology â&#x20AC;&#x201C;Genetics-Philosophy-consciousnessart-sociology-literature

Studio held by Dennis Dollens

How

mimic

In an age where Human strategies and behaviour started to become more and more steril. Humanity turned its eyes to nature for inspiration. Dennis highlightened the confusion of the ethymology ‘mimitism’’, as the science extends over the first degree of copying nature morphlogies: bio mimicry seek to imitate the behaviour of natural systems.

"What

if every time I started to invent something I asked, ‘how would nature solve this?’" (Benyus)

-you

watch

form:

Humans have been inpisred by nature morphologies since the recorded history.Prehistoric artifacts are said to be inspired by animal claws and teeth. Some even dare to state that the only human invention is the weel. All other inventions are nature inspired.This statement is in reference to the subconscious memory saving: We live in nature , even unconsciously , human absorbs tremendous visual morphological informations from nature just by being. With this said, one of the first conscious attempts to emitate nature, was the experiment led by the andalucian abbes ibn Farness. His experiment was simple: he noticed birds flying. He desired to do the same, so he built wings. This habit have been lost through history, with the rise of the artifitial man. But in the aftermath of the industrial revolution and the brutalist modernist era.Human turned for nature morphologies again for inspiration. As a result, tremendous elements from nature have been mimicked for inspiration and structural optimisation mostly. Recently, the habit of using nature’s morphologies gave birth to multitude of structural systems, wich became very commun, such as the Voronoi grids.Bio-morph extends today to the mimicry of internal atmosphers, wich results in the copying of the elements creating the desired effect.

11Abbes Ibn Farness http://www.forgottenislamichistory.com/2013/11/abba s-ibn-firnas-worlds-first-pilot.html

12mucem of marseille by rudy ricciotti http://www.lemonde.fr/culture/article/2014/06/16/amarseille-mucem-qui-rit-mac-quipleure_4438777_3246.html

14Kingfisher Bird http://www.thisiscolossal.com/2015/11/kingfishersymmetry-alan-mcfadyen/

- You Watch behavior (system, pattern of behavior) While imitation morphologies helps understand the structural and material connectivity. Imitating a form is imitating a static state. Thus, the system only copies the result of a larger scale metabolism and even a larger scale of evolution. The dynamics of a system are complementary to its morphology. This level of lecture targets the behaviors of systems. Their interactivity and additivity. Luckily for Humans, the observers, the ecosystems in nature are infinite.

13Shinkansen bullet train https://www.gizmodo.com.au/2015/06/why-japansbullet-train-will-finally-bring-high-speed-rail-to-america/

Dynamic systems in nature tend to create a set of preferences, a pattern of behaviors. These later revolves around instinctive needs and are sometimes, the result of centuries of evolution of behavior. For example, In Japan , the high speed trains (The Shinkansen Bullet Train) used to cause huge acoustic pollution. The major problem was the moment the trains exit the tunnels: As train drive through, air pressure builds up inside the tunnel, in waves. The moment the nose exit the now pressurized tunnel, a shotgun- like sound is produced. The acoustic nuisance can reach a radius of 800 meters. This problem was solved with an observation made by the engineer Eiji Nakatsu, who was working at the Japanese rail company JR-West in the 1990’s. He noticed that the fisheating ‘’Kingfisher’’ bird, barely creates any ripple on the surface of the water. These birds dove like darts. The train redesigned nose solve noise problem, hence, more speed. And power usage. The design was not changed based on the peck of the Kingfisher bird as a form, but because of the behavior of the peck. An example of this Solana project or even the physical manifestations of some interactions.

You

watch

code

To even Further degree of lecture in biomimicry, we can relate to the genetic engineering. This field is interested in the code of life: the gene. Since the genome have been exposed, human are in the capacity of modifying the Genes of any given species. Which is a major acquisition for humanity. Even though such experimentations require much investment in scientific research and money. Once a collaboration was set between designers and genetic engineering, a genetic bio-mimicry was possible. As an example, we were introduced to the green fluorescent protein (GFP), which is used as marker in the genetic field. This gene is naturally found

within

the

jelly

fish

Aequora

Victor

genetic Barcelona project 15http://albertotestevez.blogspot.com.es/2014/01/bio-digitalarchitecture-genetics.htmlThe

16Glow

the

dark

bunny

http://www.neatorama.com/2006/08/13/genetic-engineering-art-glowin-the-dark-bunny/

Eduardo Kac was experimenting of glow in the dark rabbits. Similar Vision promised a future of bioluminescent world, similar to That of Avatar the movie. One gene in a particular species, can extend to the whole world (with human intervention). In these cases, human are forcing the mutations of the receiving species. The gene can be modified for each application case. At this state, Dr. Alberto Estevez dared to mutate architecture too. The bioluminescence can illuminate architectural spaces, or to an even extreme cases, architecture will light itself. The Approach was to use plant-life as a support of life. Trees covers the street already and plants are no intruders to the interior architecture. In 2005, In collaboration with Dr. Agusti Fontarnau and Dr. Leandro Peña, Dr. Alberto and the research team were able to produce seven lemon trees with Luminescent leaves. The project was made invitro. The GFP forced mutation was additive (the DNA containing the gene was inserted intact in the tree’s genome).The project marked the first intersection between architecture and genetics. It was called ‘’ The Genetic Barcelona Project’’

20Bio Lamp shttp://albertotestevez.blogspot.com.es/2014/01/bio-digitalarchitecture-genetics.html

19Bio Lamps http://albertotestevez.blogspot.com.es/2014/01/biodigital-architecture-genetics.html

17Bio luminescent water Tasmania http://www.insidethemagic.net/2017/03/video-bioluminescent-watercreates-real-life-pandora-tasmania/

18Avatar The movie's Luminescence http://www.enchantingcostarica.com/activities/a-liquid-sky-of-blue-stars-bioluminescence-incosta-rica/

After the urban scaled intervention, the team adventured for the domestication of bioluminescence. This led to the ‘’ Bio-lamps’’, which are batteries of luminescent bacteria. This project involved technology and computation, as in software’s and fabrication.( 3d printing and CNC).The research became a reference for later works such as the “Bioglow’’ project.

22Sui Park abstract design http://www.suipark.com/

Aside from Genetic coding and research, Dennis highlighted that the micro world and the Nano worlds are subjects to the morphological and behavioral mimicry. Such as the work of the interior designer Sui Park. These essays are still considered morphological mimicry. 21Thought Bubble http://www.suipark.com/

23Flow http://www.suipark.com/

24alive cells morphologies https://www.slideshare.net/sth215/two-types-of-cells-eukaryotic-andprokaryotic-cells

25Portrait http://www.suipark.com/

The

Drawings:

These new incomes made me question my drawings. Dennis told me to observe and analyses the generated art in the same approach we are approaching nature. At this stage, I had two observations about the drawings which are Scale and Time. You watch Form : I was aware of the cellular attribution of the drawings. Each point is a distant cell. Weather its cellular structures or a gathering of entities, elements recalling nature morphologies emerged. Cells 28''Asabiyyah' 'personale drawing shaped by smaller cells, shape the structure of bigger cells. This led me to two observations. The first one is the formation of certain organisms, and the second is the disappearance of limits between the mentioned systems. Organisms stand out as morphologies, yet they merges with the global patterns and interact with them (the forces of the pattern). Honestly, I was showing the drawings to people in order to receive

26’’Grenade of thoughts’’ personal drawing

27 ‘’Cellule’’ personal drawing new morphologic information’s. Each person saw different phantoms of symbolic figures. That I didn’t even intend and didn’t notice before. You

watch

Behavior

In the absence of goal, the growth of the patterns depends on how much time I invest in them. Actually, they never stop growing. From this point, I started calling them metabolic drawings. When Drawing, every dot (cell) emerges from its immediate neighboring rather than a projected intention, as they are spontaneous, intuitive. This rule is valid no matter the scale of the cells. Am I processing in a bottom up method? Is this a natural behavior? Act local and think global. Again, I have no intention of attending a form, nor a purpose. No prefixed goal or intention, every dot is a welcomed and you build up on it -no redoes- as there is no wrong displacement or false position. There exist no judgment in

this realm. I noticed that connecting those ‘’questionable points’’ is what creates mutations and diversity in the patterns. And diversity brings complexity. With time, the systems of patterns became more complex. When drawing, I throw hints of abstract concepts, not thoughts. Such as order, continuity, rupture,

motor behind these prints. The lecture of the of the first initial abstract concept (colors and dots) manifested different reactions within the observer. You watch code I couldn’t help but notice the repetition of certain elements and morphologies. These resemblances are sometimes accompanied by the same behavior (merging and connectivity).This led me to reflect on the nature of the logic behind the drawings: apparently there is a code, a logic. With that said, Repetition turned out to be a manifestation of a logic of recursions. One of the generative codes for the pattern. This code is also affected by the bigger one related to scale (the initial observation).This led, both Dennis and

29 ''m3awej'' personal drawing

infecting. According to the point’s immediate situation. These concepts manifest themselves in the drawing by connectivity, depth, torsion, and mutation. This interactivity led me to question the source of the drawings. As I mentioned before, this language is new to me. Yet my interactions with them are spontaneous and automatic. But most importantly, Dennis saw a Happening in the drawings. Perhaps it was the spontaneity of the process, or the poetic of interconnectivity of the pattern’s elements. At this level, I needed more understanding of the

30 ''Sirens'' Personal drawing

me, to conclude a fractal dimension to the drawings within the fractal elements of the drawings, I noticed resemblances to the Mandelbrot set. I have been observing such morphologies for some time now. This could not be a coincidence. Is this a type of Bio-mimicry?

31''Yamina'' personal drawing Is this a Mimicry?

Mathematical

Depiction

Are my drawing a representation of an algorithm?

At this level of the observation, more understanding of this realm is being developed. And I was left with one big question: -

How

producing

this? 32''Fossils'' personal drawing

Bio-Digital

Literature

33artwork from the book ''the thousand dreams of Stellavista http://www.existentialennui.com/2011/05/thousanddreams-of-stellavista.html

By the time we started Dennis’ Studio. I started reading a book by the name ‘’the thousand dreams of Stellavista’’. The book is a surrealistic short-story written by JG Ballard in 1962. The events occurs in a world, where architecture became equipped with a technological ship that receives data from the contact with humans (sensory information and movements). Every output of the human becomes an input for the house’s behavior pattern. This interactivity aims to adapt with the ‘’prints’’ left of the owner. The twist of the plot in the story, is when the house develop a traumatism from living with a psychotropic owner. Hereditary behaviors, memory of behavior and personality genesis (out of pattern of behavior), these are the concepts I liked in the story. Note: the house did not mimic and absorb the personality of the owner, it developed a counter personality, one that can manage the owner. At

which

point

instinct

becomes?

Artificial intelligence have no ‘’will’’ of

34Scene from ''i Robot'' Movie http://pratoom.freeddns.org/can-a-robot-write-a-symphony251434.html

their own. Once an interaction is set. A memory of past data can create patterns of preferences and behaviors. All is data, passed on information. When facing a situation, a computer mind relies on the pattern of behavior to find a possible solution. This ultimately becomes instinct. But can a robot think outside of those sets? Can a human? At least, based on this process of interactivity, Artificial intelligence cannot behave artificially. The day that happens, the natural Robot will exit the ‘’cave’’. I dare to call the capacity to escape the Natural state by having a ‘’will’’. Human mind works in the same process: we receive data (genetic, social, cultural…) and we Construct preferences. The animal life works in the same way. Yet what distinguish

humans from animals is the will. Escaping the behavior pattern for human is part of the science of consciousness. The science of consciousness is a new psychological field that studies the human awareness. Aside from its solipsistic and materialistic point of view, the science incites to be more flexible to the forces of lives. As Patterns of behavior are generated from internal forces (will, desire, thoughts). Consciousness can be resumed in the state of observation. Watchfulness. Once established, the interactivity between a person and his behavior will change. (No compulses or given concepts) Thus his personal pattern of behavior will mutate.

understanding of nature, behaving in an orthodox dictatrixes manner. This is what I referred to in the introduction, as artificial behavior. While in nature, there are no dictatorship. Natural Systems are searching themselves within their environment. Each system represents the collective experience of every interaction of its ancestors.

About internal forces, the science refuses any method of standard structuralism. It adapts a more generative way of thinking than a structural prefixed behavior. . Concepts, logic, the science handles methods of behavior, not structures of behavior.

With this said, the human capability to adapt is driven by conscious actions. Hence, the scale of the action is almost immediate. I must clarify that by human adaption, I am reciting the tools human created out of sensation of need. In order to adapt to the weather, mankind clothed himself. In order to invade the water, boats have been created and later submarines.

Intelligence is the ability to interact with the new. (Perez) in Other words, flexibility and adaptation are major elements of the performance of natural systems. Although the adaptation have somatic and genetic factor in nature. Human have shown high levels of escaping the genetic conditions (with accessories) with their will. Yet the adaptation requires an understanding of the existent material environment and the subtle connectivity. So

far,

Humanity

showed

little

Natural selection does not implies that systems adapts instantly .The collective experiment is passed down information from generation to another. Through genetic codes. This is Natural selection, which implicates a long-term flexibility. This flexibility itself is Dynamics, as the data changes from generation to another.

Human tools complemented the human physical and performative state. Another kind of evolution? Perhaps. The evolution of the human accessories have witnessed a huge development since the recorded history this evolution can be compared to the genetic inheritance: While in nature the systems evolves following natural selection, human tools have been improved for better performances. Man forced the development of the genotype of the tools. The industrial revolution initiated the

mass production era for humanity. Diversity of tool’s genotypes have played a huge role in the recent acceleration of advancement: the diversity provided rapid optimization of performances. Have Humans mimicked the nature’s phenomena (natural selection and evolution of tools) intuitively?

modes of production of spaces. As a study case, I worked on a specific vernacular typology of architecture, located next to my home town: The village of Matmata. The village is characterized by a unique typology of troglodytes.

Note: the relation between human and tools is both alloplastic and autoplastic. With this said, the performative judgement of humans, have been mostly ignoring the respect of nature. This led to the current situation humanity found itself in. The human attitude toward nature have proved to be more sensitive earlier in history. Such conclusions can be taken after observing the behavior of old human systems, like vernacular architecture. While ‘’primitive’’, these constructions showed more understanding of the surrounding natural systems. This may be caused to the intuitive state of mind of the constructor. The natural man. Dr. Ali Djerbi, a Tunisian Architect, describes Vernacular Architecture as the immediate manifestation of human knowledge and the immediate environment. Yet he highlights the motor behind this constructions as metaphysical. An intuitive act based on an immaterial need. Such as catastrophes or war. These social and natural inputs accelerate the human to escape its pattern of behavior, the comfort zone. Pushing humanity to the undiscovered territory. Personally, I had the chance to work on such case in my previous masters. The research was about the alternative

35 Matmata https://www.viajesdesertrose.com/inicio/qu%C3%A9ver/matmata/

In a nutshell, the indigenous population had technologies to construct horizontal troglodytes. Then due to Heavy invasions, the locals escaped the attacks by interacting with nature: in investigating the soil, they discovered a new behavior toward it, enabling them to escape and hide.

36 Matmata's vertical troglodyte https://blogeuropcar.wordpress.com/2015/04/06/top-4-raisons-pourvisiter-tunisie-by-europcar-tunisie/

The soil was unique in the continent: it had clay-like properties. The locals discovered that by digging every day a little bit. The newly exposed soil reacts to the air and solidify to the desired

shape. The locals stated that they have to respect the soil. In order for its protection. This is in reference to the inability to dig more than a tolerated degree. The interaction with the soils depends on Time mainly. During the shooting of the trilogy of Star wars, an essay to rebuild such typologies with more modern tools was made. Instantly, at the excavation moment, the soil collapsed. The new construction was abandonned and they decided to decorate an existing house. This incident showed that the original constructors had deep understanding of nature before establishing a language. I personally like the adventurous aspect of experimenting with nature. Because of a social happening (one of the bloodiest invasions in history), human ran into undiscovered territory. This was the first time I felt the imprisonment of static architecture. (Static morphologically and functionally)

38The ''timid'' intervention of Star wars architecture from the book ‘’Cross section of Star Wars’’ BY Hans Jenssen

My proposition was to add flexibility to the design. After this bio-digital masters, I want to experiment on the moment of bio-excavation: If the soil needs exposure to air in order to solidify, then new experimentation should aim to catalyze the solidification of the soil, while using modern excavation technologies. This is only a statement. The real method to approach such analogies is to study the degree of sensitivity of ‘’handling’’

nature. Yet without the social happening -the 39Worlds largest Ant colony, an example of animalistic architecture http://www.dailymail.co.uk/sciencetech/article2095335/Underground-ant-city-Brazil-rivals-Great-Wall-China-labyrinthhighways.html

invasion- , such manifestations would 3731A deviant Troglodyte presenting the artifitial pushd behavior http://looklex.com/e.o/troglod.htm

have never took place. The local would have continued on living in systematic constructive behavior. In other words, the happening pushed the local’s to escape their comfort zone and behave in a more intuitive manner. Thus the solid interactivity with nature. Another observation I made at the time, was the spread of this new typology in the region afterwards. Even after the soil changed, the constructions continued, ultimately changing into new sub-typologies. As if this new born data have spread and created new mutations. This is a purely artificial behavior. Locals wanted so badly to

build that typology when it’s not suitable. After a beautiful journey with this architecture, I realized that the

dynamics of a system rest within its flexibility to the usage. The dynamics I am stating here are the dynamics of the usage.at this point, I was not aware that the dynamic of architectural systems could exists. Another case of vernacular behavior, is the research of Dr. Ron Eglash. The leader in cybernetics noticed a fractal code in the vernacular African urbanism. He went in site to investigate the phenomena, only to discover that what has been seen as fractal geometry, is the result of social hierarchy.

social phenomenon. Is the African fractals, the prints of the pattern of behavior of the locals? The constructors didn’t draw fractals and then built them, neither did they set orthogonal streets and predestined geometry. This intuitive architecture is more suitable for the immediate circumstances. Dr. Ron afterwards mentions the fractals presence at a smaller scale.

’’They are mapping the social scaling, onto the geometric scaling’’ (Eglash)

He states that the fractals are shared technology within the continent.

40Fractals (Tool Observation) African Fractals By Ron Eglash

I believe that instead of setting the lines for the future, we choose our motors carefully and build architecture suitable for our behaviors. Is the Cataclysm and social happening push human to their limits? Creativity is the ability to adventure into the unknown.

41Fractal (urban observation) African Fractals By Ron Eglash

This book made me question the real nature of mathematics: Fractals, in particular, have been observed in nature before. But in this case, we are talking about human behavior and a

History is filled with examples of unusual human behaviors. Mostly resulted from cataclysm My question here is: Once conscious, can a human go back to its natural

state? If the people who build such architecture became more involved with the global movement, would they still produce naturally? Maybe the problem is the theorization of the world. Instead of acting, the artificial man lost his instinct to overthinking. While investigating the early architectural human experiences, I was opposed to the conflict of animalistic primitive human and the urban ‘’sophisticated’’ man. I had to refer to sociology and its creator, Ibn Khaldoun. Ibn khaldoun identifies the transition from animalistic behavior, to an Urban ‘’human’’ one, as part of the ‘’asabiyaah’’ cycles, (tribalism). Ibn Khaldoun was a Tunisian philosopher. He wrote an experimental essay, as an introduction to a series of books of observations, under the Name ‘’introduction to the universal history’’ (1377). Yet the introduction alone was englobing and sufficient. It can be regarded as the earliest attempt made by any historian to discover a pattern in the changes that occur in man's political and social organization….Beyond the mere chronicle of events, an explanation— and hence a philosophy of history. (Dawood)

In the Mukaddemah (prolegomenon), he uses the term ‘’Asabiyyah’’ to refer to human cohesion and gathering based on a bond. The term englobes social solidarity, with a sense of belonging. He describe it as a human innate behavior. He highlights that the most common

aspect of Assabiyah is tribal gathering and nomadic lifestyles. He states that as civilizations evolves, Asabiyah manifests itself in a new social manifesto. . We cannot be free from society, everyone is slave to something to hold on to other peoples, values, and customs, behavior. But his observation was deeper: He handled human behaviors as recursive, unpredicted and progressive manifestation. To resume, when free from primitive collective animalistic behavior, Humans developed a more modern version of it, one that in phase with the ‘’social worlds’’ humans are creating. To this extend, Nationalism is a form of ‘’Assabiyah’’. Also, with the media rising as a social phenomenon, people started to glorifies celebrities and pick clans. This too is a form of Asabyyah. In other words, He is stating that everyone is slave to social attributions. He describes the process as compulsory, innate, and beyond the common consciousness. For that, he established the science of sociology, giving human interaction attributions such alloplicity and autoplicity. I quote him: : ‘’ Human are social by nature’’. I mentioned this example for the sake of the new emerging societies and gathering we are facing. Who knows what new behaviors will result from the current shifting. The digital behavior. This social observation might be similar to the architectural evolution.

‘’While advances in digital technology race ahead – with ever-increasing promises of lightness and speed – the traditional language of architecture still remains one of bulky heft and immobility, forged from mid-century dreams of concrete and steel.’’ (Oxman, Conversation on Bio-mimicry, s.d.)

When I was a child, I couldn’t to help but notice, how my surrounding adults, were investing a lifetime worth of work, in constructions that will serve them shortly, that made them prisoners of that space. That stabilized their mobility, in a boring way. I thought their behavior is illogical. Because it’s the only way to construct. So we start to improve it, to build on it. But what if that is not the only way to construct? Coming from a Middle Eastern culture, I was introduced to the western world through history classes and readings. The ancient Greeks identified Life. They identified concepts, aspects. Regarding architecture, I have always been curious about the possibility if theory was developed elsewhere. If this awareness had happened elsewise. More precisely, what if there has been another order, than the Greek order. How would that model end up today? With this said, personally, I believe the problem with theory is the identification process: Identifying, then labeling, is the new imprisonment of humanity. Foucault talks about this, he based his talk on the fact that every theory and every statement ‘’is controlled by the sovereignty of the subject.’’ According to him, humanity is trying to advance in life in an additive way. He

believes that the end of humanity is the ultimate state of humanity. By the term ‘end’ he refers to the destruction of every aspect of built up additive humanity. ‘The end of all forms of individuality, of subjectivity, of consciousness, of the ego. On which we built and from which we have tried to build. And to constitute knowledge...The west have tried to build the figure of man in this way (Foucault, Faucault , the lost interview, 1971). For example, when writing this thesis, I had to theories my drawings. An act that is limiting their true nature, and might limits my future observations of them. Truth is, they are beyond my understanding, as much as many life aspects. Also, I am not interested in writing about them, a much as I am interested in drawing them. They are a language on their own. ‘’So I don’t say the thinks I say because they are what I think, but rather I say them with the end in mind of self-destruction, precisely , to make sure they are no longer what I think. To be really certain that from now on , outside of me, They are going to live a life or die in such a way’’ (Foucault, Faucault , the lost interview, 1971) Again , coming from a middle eastern culture, we have been affected only recently , by the phantom of Greek order. This happened in the era of globalization. The world was facing the new improved phantom. Architecturally, people abandoned their typologies to live in a standardized more comfortable houses. To oppose such catastrophe, The Egyptian architect, Hassan Fathi, started a new movement: The participative architecture. Dennis

described this movement as a multiagency open-source system. Hassan felt that, to personalize the spaces individually and culturally, the more agents involved the better. He even left possibilities for the user to ‘’participate’’ in the creation of space. This involved the unpredictability of the design. It was an essay of Hassan Fathi to handle, the new Phantom. He adjusted architecture’s life to the human’s life spam. People chose the phantom, and his cities were abandoned. Note: nowadays Egypt is trying to solve its overpopulation problems with Hassan Fathi’s approach, but the era changed, that model is not valid today. The interesting thing, is that Dennis told

43 Hassan Fathi's Architecture https://www.wmf.org/sites/default/files/article/pdfs/New%20Gourna%2 0Report%20Final%2015%20Meg.pdf

me about the way Hassan Fathi created his material. It was a method that included the instant environment. Which lead me to one of the major aspect of bio-mimicry. The materiality.

Let’s

bio

mimics

Under the guidance of Dennis, we started exploring the possibility of creating life, or the hints of life. The

quest was to explore dynamic artificial systems. And can we make life? (Aside from bio-engineering) Dennis was insisting that we can find life in the interactivity of systems, even if these systems were in a static state. He was referring to the imitation of system’s behaviors in nature.

-Connector

The aim of creating a connector, was to push us to surpass the morphological level of lecture, and be aware of the connectivity creating the surrounding world. This posed the question of behavior, both introvert and extrovert. The first observation I made was purely introvert. I have cut a pine fruit and tried to translate its structure. This was the touching point between two words nature observation and the new realm I am discovering. . As i was drawing the pine fruit section, I realized that I was not pushing my mind as I was expecting. I used the structure of the pine as initial inputs. Then applied the growth on it. At this moment, I had multitude of sets and Languages in my disposition. So at the moment of drawing, the growth of pattern followed the visual inputs i was receiving from the pine fruit section. Experiment was to explore the possibility of adding a third dimension to the drawings.

44 From 2d to 3d Author's illustrations

The

Sculptures

Dr. Dennis encouraged me to use the information already available in the drawings, such as depth and black and white readings. This concluded in a bas relief, a topography. In a second essay, I tried to apply simple rules as rotation to some random parts of the pattern. This didn’t feel so

45 Sculpture : infection 1

The sculptures gave more insight about 3d continuity of the pattern’s sets and Rules.

46 another 3D essay author’s image

convincing.

The third dimensional logic was obviously alien to the sets and rules of the Drawings. I needed more clarification and readings about them. I decided to go for a better documentation of the Happening: the drawings are two dimensional representation, but the instant gesture and logic may extend to third dimension.

More specifically, what was read as cells, can now be translated to void (excavation). And what was void in 2d (white), is the support mold now. This observation led to possibility of exploring various spatial translations and the mode of producing spaces. Can we consider the 3 dimensional essay as catabolic?

Ultimately, this led to the choice of an interactive, more flexible support, such as mold. 47 Sculpture : infection series

My behavior changed with the new material, the gesture and manipulation of the support took action in a three axis system. Back to a previous deduction, if the patterns are in a fixed state of movement, can than the sculptures have the same attribution? In this case, the void cells will eat the mold (void cells) are eating the not-fixed mold? Like a floq. , or a parasite.

Panel

The next step in the Studio was, to create a panel of a connector. The aim of this exercise was to develop and experiment with the connectivity. Going back and forth between the connector’s design and the panel’s, provoked us to add a connectivity attribution to the design process and think of connectivity as part of behavior of A system, as part of its genotype.

48The pimple connector Autho’s image

For this, I wanted to experiment with the scale parameter (the new obsession of scale). In order to explore the scale -New connector, the pimple. - The pimples would emerge from the interconnections of the pattern - the pimples would connect, not intersect. The panel was created with pimples. I have put simple conditions for the panel’s genesis. - The panel would emerge from a pattern: The pimples are situated in the interconnections of the pattern. The later was a simple one that I found in the internet.

49The panel's logic

Thus, the cell size is determined by its position and neighboringâ&#x20AC;&#x2122;s. Emergence from panel pattern. What if that instance change? What If the Panelâ&#x20AC;&#x2122;s pattern was in movement? The cell sizes would change evidently. This brought the question of time again. the emergence although this experiment was made manually by Rhino, I Was introduced to the emergence concept

Some other panels I was experimenting on. This experiment explored the packing in 3D

50The panel emergence- Authorâ&#x20AC;&#x2122;s Illustrations

- Common aspect for the connectors: All pimples have the same male and female parts. This choice was made is to ensure the standardization of connectivity. Also, all pimple had the same morphology. Differentiation: The pimples presented different size of the sphere, add that to a common morphology becomes the scale of the spheres.

D.I.V.A. For the next part of the studio, Dennis lunched a brainstorming session for the whole class. This time, our task was to design an interactive installation on the urban scale. Concepts and ideas started to build up. The group research resulted in a variety of concepts and inspirations for the project, such as bioluminescence, crawling motion, bat wings movement, floatingâ&#x20AC;Ś.

the spider like movement inspired us the concept of tensegrity Structure. These structures uses the law of physics to stabilize itself (compression and tension). Furthermore, they are fractal elements. The idea of Bioluminescence reemerged along with the reference of the jelly fish. All of these inputs revolved around Flexibility and Tensegrity.

54 The movement of the jelyfish 52 Bat wing https://www.quora.com/Are-thereany-animals-that-have-had-handsand-wings

51 Snake's spine

53Spider's morphology

https://www.britannica.com/ animal/snake/Form-andfunction

http://blogs.cornell.edu/naturalistou treach/files/2013/09/How-DoSpiders-Move-1bpzbvb.pdf

Due to the variety of directions for the project, the class was divided into different groups. I was one of the Agents that adopted the spine movement. Concept. Our first inspiration have been the spine of a snake. Most notably its shift between rigidity and flexibility. The rigidity is temporarily, conditioned by the whole movement of the structure. In the aftermath of the brainstorming,

http://raymichemin.canalblog.com/archives/2014/07/24/30303557.html

The group started playing with tensegrity .Our first experiment was a success in terms of Flexibility. Although the design started from tensegrity, the resulting prototype is no longer classified under that category. With this said, the design lacked rigidity and control. We decided that we would experiment with more rigid materials for the next models. As well add more control points.

Generation

55Group workâ&#x20AC;&#x2122;s

illustrations

The second generation aimed to test the controllability. Even though the elements showed a more natureinspired design. This generation lacked rigidity and durability. The materiality choice was settled at this stage. (Acrylic and rubber) The third

Generation

This generation presented a more rigidity due to the addition of a network of a rubber bands this resulted in a more uniform movement. This resulted in a ligament-like performance. This generation showed a more organic phenotypical expression Furthermore, the design of the elements as well as their positioning was pre-studied, to avoid the unwanted superposition of elements noted in the previous generation.

Generation

the next generation, we recalled the spine inspiration to enhance the design’s morphology. A previous observation about the spine structures in nature proved to be helpful. The study consisted of a comparison between a human spine, and a snake’s one, in order to explore the parameters that conditions the flexibility and rigidity. As a results, we started experimenting with a difference within the elements’ sizes.

56 Group Work’s illustrations

This model became our new Prototype:

we had more control and understanding over the movement and the genotype of the structure, as it collected positive data from its ancestors. The real success was the organic-like motion this prototype presented. We decided to add a base, for more stability, and to explore more the observed movement.

Generation 5 : As a resulted the fifth generation was full of challenges : bringing the model to a bigger scale resulted in re-considering the whole process as the genotype and logic persisted , the new weight and resistance proved to influence the rigidity , flexibility, as well as the stability. With this said, these generation proved to be most durable. The change of scale implied a change of perception. We were conscious that the aim of our experiments is to explore the motion the previous generation manifested, at a bigger scale.

The change of scale proved to be challenging.

57 Group Workâ&#x20AC;&#x2122;s illustrations

58 The funny Diva - Author's picture

Look at the expression diva gave my fellow agent. The next step, was to explore bigger scales, and a non-pyramidal assembly of the elements.

This conducted in keeping a more simple pyramidal shape for the structure, as well as enhancing the base. While testing the mutated generation 5 structure, we experienced a more expressive and unexpected motion from the structure. This time, the unpredictability of the movement provoked a sense of interactivity from the structure. We were laughing at the motion, and I almost got stringed. And thatâ&#x20AC;&#x2122;s when we thought: Is it alive? This

was

happening.

. It started to develop an identity, a set of motions. The behavior was inherited from generation 4, but stronger with more curvature. We decided to name the species D.I.V.A.: Dynamic an interactive vertebral architecture. At this stage, I was impressed with the whole process: from laws of physics, to an interactive behaving system. My question was: when did Diva became? When did this assembly of materiality and laws of physics create an entity?

59That moment: Diva's unpredictibility â&#x20AC;&#x201C; Group workâ&#x20AC;&#x2122;s illustrations

Construction

The units and the slabs were redesigned with Rhino in the big scale. Everything was cutter with the laser machine. But with the 5th generation. We had to adjust manually a lot before the happening emerged. By this stage, we started to perceive diva as a livinig system of organism.A new specie deviant.

: From this generation, we started creating diversity and optimization for the model. Our work was balancing between improving the rigidity and seeking the flexibility. After adding another set of vertical rubbers (between slabsâ&#x20AC;&#x2122; position) we experimented on a new skin for Diva. Tights seemed a perfect solution, I order not to bend the slabs.

60 Group work's illustrations

Generation

A full evolved Diva. Inheriting the benefits of it’s ancestor. This generation had bio-luminescent characteristics as well as new spatial behavior: If Diva stands, the strings go through the ceiling before being accessible to human. If diva hangs down, the interaction would be smoother.

Diva common behavior we wanted to focus on a more ‘’bio’’ attributions to the sculptures. , we started thinking about the possibility of a whole colony of

61Group work's illustrations

DIVA(s). This idea was driven by the desire of having more of that motion. We started exploring a skin for DIVA, different proportions, a more refined shape, more set of ligaments, highlighting the sting elements. A second research was launched, to explore the common behavior of the colonies. As well as vertical direction of the Structure.

The final research revolved around adding the bio-luminescence aspect

We ended up presenting three variations of Diva as they showed individualism. The differentiation within traits resulted in a slight difference in motion. This resulted in different families for the species. By the end of the studio, I was aware that the Drawings are fossils (a fixed state of movement) but a question arose : When to stop the growth ? Dennis didnâ&#x20AC;&#x2122;t provide me with an answer. Instead, he told me that is it up to me to find my own. This was a question on the metabolic level. : Actually, systems never stops on growing, it is just the Scale of the growth that changes at a certain time. In nature, the growth scale becomes invisible to us, due to its size and duration.

The current reality of Architecture is far from being mobile, nor metabolic, nor interactive. It is additive, dead. Toward alive, interactive, growing, genetic, metabolic systems. D.I.V.A. felt alive. The species developed its particular behavior. Even the jury was laughing at its movement. The best kind of interaction.

62 group work's illustration

65 ''Unit'' Personal drawing

64'' INTENSegrity'' personal drawing

The last weekend of the studio, I was in the middle of the D.I.V.A. dynamics. All the Tension, the tactile forces, the rigidness, the slipperiness.

D.I.V.A Title:

was Tame

angry here. the monster.

My head was full of these concepts, I decided to manifest them in the drawings. These experiments were abstract, with hints of morphology. The

broken

model

Notices that I used colors intensely. Colors indicates feelings, a life indicator.

63 Tension personal drawing

66 Diva FĹ&#x201C;tus - Personal drawing

Section of D.I.V.A.: Diva resembles a sea animal in this drawing. Which present a section of the species. For this model, D.I.V.A. presents a nucleus, internal organs and a skin.

67 '3' Personal drawing

The threesome of forces: A representation the tension of forces, felt during the making of Diva. I was a repetitive movement that we got adjusted to.

Human are the freaks of nature? The outlaws? They escaped life. Or is this part of life? Holding the will to change the course of life itself. Human are creating various agencies. We are imitating life itself, creating artificial intelligence, and artificial realms. All in order to understand our existence. Personally, after creating an interactive system out of static elements, I became aware of the agencies in nature.

Bio-mimicry

http://www.emergingobjects.com/project/bad-ombres-v-2/

Rael projected his sensitivity toward vernacular architecture and methods

Art?

If designing is creation, then the act of designing in itself, isn’t that biomimicry? Is every creation, a bio mimicry to that extend? Emerging designers, are exploring the connections between humanity and nature to create art.

“Novel technologies start out as art forms.” (Oxman, s.d.)

I cannot talk about the human behavior towards technologies without addressing the emerging approach of Ronald Rael.: He is an applied architecture researcher. Having a background of earthen architecture, Rael currently is co-founding a company, ’Emerging objects’’ specialized in 3d printing innovation and research. He is currently a leader in additives manufacturing. The 3D printing experiments revolves mostly around innovating materiality, and exploring the new possibilities of 3d.

68 Ronald Rael 3d printed pottery

69 Dogon's earthern architecture https://www.flickr.com/photos/27784269@N06/sets/721576279486945 28/

into the new technological tools. These experiments are influenced by his background and interest in earthen architecture, and the Domestication of Clay. A material in abundance in nature. His work revolves aims to push the modern common expectations of the digital fabrication and the 3d printing process in particular. In a sustainable

approach Ronald was highly ‘’vernacular’’ in his early years. His research consisted of hunting the earthen architecture, mostly in Africa and Mesoamerica.

Other Artists developed an interactive relationship with Nature. They documenting nature’s behavior .The Chinese artist Ren RI demonstrated a fine sense of Time, space, and mass.

In her work, Yuansu II, Ren manifested the flexibility of her relationship with beehives: she enclosed them in identical face polyhedron. The rule was that the queen bee is the center of the growth of the hive her game: she changed the position of the polyhedron every seven days, playing with two factors: space (orientation) and time.

‘’I have a desire that I could really integrate into the bees’ world. For now, I have been familiar with their constructing system and many algorithms of their behavior. (ri, s.d.)

70 Ronald Rael 3D printed pavilion https://ced.berkeley.edu/ced/faculty-staff/ronald-rael

71 The Yuansu II project illustrations

https://www.pearllam.com/exhibition/ren-ri-yuansu-projects/

sound

composition

‘’

Oscar Martin, a sound artist and a programmer specialized in generative arts. He explores the self-assembly of sound and the spontaneity of the emergency, using algorithms. No human composer ,

‘’The biggest challenge for my work is how to integrate “time”. The bees have their own natural time, which is different from human time’s algorithm. My involvement represents man-made time. My works is the finally fruit of the integration of the two different time, which is need to be harmonized.’’ He added Posted by CLOT Magazine inBiomedia, scout and trends interview ‘’Recently, in the few last years, I have become very interested in complex systems, self-organization, emergency and its implementation in the artistic experience. At the same time recognizing that nature is the most complex system that we have. I worked with algorithms that simulate natural complex phenomena like, for examples BOIDS, an artificial life program, developed by Craig Reynolds in 1986 that simulates the flocking behavior of birds. I used this to make a generative

“But understanding emergence has always been about giving up control, letting the system govern itself as much as possible, letting it learn from the footprints.” (Johnson, 2001) page 234 Emergence: The Connected Lives of Ants, Brains, Cities and Software

…………………………………

These artists made an observation, understood the functioning of life, then made an intervention, whether it’s by interfering with one parameter, or manifesting an attempt to guide the emergence.

Whether it implies new technologies

and computation, or simply an understanding of the behavior (Ren RIâ&#x20AC;&#x2122;s case). These artiste manifested a sensitive approach to interact with nature.

72 D.I.V.A. Xray

Conclusion

In the struggle between the natural and artificial man. Dennis showed us that by opening our eyes and observing nature, we can import natural behavior to artificial systems.

03 Faberarium Workshop Fabrication- action diffusion-Grasshopper

Workshop held by Affonso Orciuoli Pablo Paquero Femi Giano

This Workshop aimed to introduce us to the fabrication process. From design optimization to the assembly of the model.

The morphology was already set. Pablo and Femiâ&#x20AC;&#x2122;s guidance consisted of showing us the process of optimizing the shape using a new grasshopper tool: Ivy Ivy application generates isocurves, that later can be used for the assembly. The diffusion forces generated these lines. This lead to a talk about the reaction diffusion.

73Reaction diffusion https://mrob.com/pub/comp/xmorphia/

I was intrigued, I asked Pablo about the source of it, he clarified that every morphology holds information about its applied forces and reactions. At this point, I showed them my drawings .Instantly, Pablo took me to the library introduced me to a couple of books about Patterns in nature, the most captivating one for me was the concept of nature. Pablo and Femi explained to me that patterns are the results of applied forces, both interior and exterior. I explained to them that I want to take the drawings into the computation realm. 75Pattern created by Sound frequency) http://butdoesitfloat.com/patterns

74 Group work's illustration

Then the class was divided in groups, in order to cover the whole fabrication process. I was part of the group that worked on body part of the project. One group focused on the 3d printed legs, and another took care of the support.

The week was intense in terms of group work and organization. The guidance of the professor have increased our behavior as a students and as team workers. Personally, I adored every part of the workshop. I felt that I had to give back the project was delivered to us ready for fabrication, which is the aim of the workshop. But I wanted to give back. While assembling the elements of the body of the structure. I noticed a poetic in the shapes and the materiality. Yet, I felt a material segregation between the 3 parts of the project. In the same way I was drawing the continuity of the patterns. I started manipulating the isocurves resulted from Ivy. And playing with new grasshopper tools that can simulates structures (the exoskeleton plugin). Again, my approach here was similar to that when I want to continue a paused drawing. I used the existing information. I thought of a material continuity also to the project. At this stage, professor Affonso like my proposal, and told me that we are going to 3d print it.

76 Author's pictures

The Idea of my design was to cap the upper hole of the structure, ensuring a morphological and a visual continuity Before launching the project, Affonso tought me about the world of 3d printing: He talked to me about the possibility of materiality for the machine used for the process, along the origins and he future of such manifesto. He mentioned the varieties of the machine and the future of the design. What I appreciated, is that he clarified the limits of such process. He mentioned that the common culture is glorifying the 3D printing process, to a point that we expect more of the machine. With his guidance, I learned about the necessary aspects to work on in the design: I had to thing of the connectivity between the new design and the original one. He told me to be smart in the fabrication and use whatever you have, in order to gain time and money. Basically, he was teaching me the strategies of the fabrication.

77 Author's pictures

I experimented on a drawing inspired by Capello. .The drawing did not present direct exoskeleton references. Instead, it was subtitle.

Ultimately, I added connector to the design, in accordance to the screws that we had, and similar to the existing connectors in the design. Affonso showed me how to prepare a G-code. And how to optimize the 3d process. And then, we launched the printing. The resulted design took 15 hours to print. The speed was minimized on purpose to have better resolution. 78Capello next to its print - Author's picture

Affonso wanted to name the new born, Dr. Alberto described it as the cherry on the cake. I called it a hat, thus, Pablo suggested the name Capello, which is Greek for hat. (In reference to Femi ). Such atmosphere is what enables unexpected ideas to emerge. The behaviors were natural, intuitive, and experimental. I was surprised of my spontaneous interactivity to the atmosphere. Before the assembly, Capello had some ‘’Lija’’ time with the team. I enjoyed how they volunteered to participate in the Capella genesis. Afterwards, The whole structure was finished and the assembly was a collective work.

79 Author's pictures

‘’If sense-perception does not involve thought, then sense-awareness and sense-perception are identical’ (North)’ This quote of the book that Pablo introduced to me, made me question the natural and artificial aspect of thoughts. This will be the subject of Future research. In the end of this studio, Affonso recommended me to read about Frederick Keisler theory, as he thought I can refer to it.

02 Algorithmic Architecture Theory -Philosophy- -art-sociology-literatureAnthropy- Psycho-analysis

Lectures held by Dr. Alberto Estevez Dr. Aref Maksoud

Objectives: -Bio-mimesis at a morphological level -To develop Strategies: between design, construction strategies and expenses

how further can we push our design to reality. This studio allowed us to experiment with the back and forth procedure between design / demand / construction

Personal

objective

-Explore special architectural project. -Introduction to algorithmic Design -Establish a case Study

81 create the void - personal illustration

80 The Parasitehttps://www.pinterest.com/pin/290622982 174026038/

Movement

The static state of the architecture and of the drawings have led me to think about the notion of movement. The dynamics of the world around us is constantly shaping our environment. Life as a phenomena is a dynamics process. Yet architecture seems to be stuck in a static state. By static I refer to the: - The Physical state in reference to time. -The Feeling generated by the architecture: The pyramids of Egypt are producing continuous intense atmosphere. Or the example of the Jewish museum is a constant generator of feeling. The dynamics of feeling.

82 'E' motion - Author's picture

what makes animation so problematic for architects is that they have maintained an ethics for statics in their discipline. Because of its dedication to permanence, Architecture is one of the last modes of thought based on the inert.’’ (Lynn, Animate Form )

- Architectural identity: as spaces, we tend to think that the morphology is given permanent. So we change the decoration, the attribution, the colors -The construction process from the demand to the construction, the whole industrialized industry is fixed. 84 create http://www.mak.at/kiesler/schulprojekte

‘’ Animation is a term that differs form, but is often confused with, motion. While motion implies movement and action, animation implies the evolution of a form and it’s shaping forces. It suggests animalism, animism, growth, actuation, vitality, and lawyer. (Lynn, Animate Form ) ……. 83 The malleable manifesto https://archimorph.com/2012/07/13/the-malleable-manifesto/

space

Are we fulfilling our space? Is our space fulfilling us? Can we possess space?

adventurers that somehow escaped the phantom, delivering dreamy and bold designs.

As previously mentioned, Charles Darwin states the Human’s first special experience was the womb. The womb is not a box

Human lives as if they were meant to live in boxes. But how much is the box conditioning us? The later morphology originated from a primal structural logic. Even though we are able today to build other shapes, we continue to perceive and produce spaces in that morphology .Dr. Karl Chu used the term Phantom to describe this habit.

74 Scarpa's '' focuced'' space shttps://www.emaze.com/@AITWWCOO/CARLO-SCARPA

How different would our lives would have been if we had other morphologies as a standardized space?

Actually, it is evitable for humans to connect with spaces. This is one of the factors that ensured the nondevelopment of the phantom. Truth is, a good design facilitates this interaction between human and their spaces. We need curves, suggestion of movement and womb conditions.

The

other

side

modernism

Modernism have been humanity’s attempt to control aspects of life. With every kick of consciousness and enlightenment, people hold tight to their knowledge, in order to have a security base. Yet the phantom of the Greek Order and the renaissance’s Utopias, manifested itself strongly. During this era there have been some bold

86 Carlos Scarpa's window 85Crlos sarpa's visual ''escapade'' http://es.phaidon.com/agenda/architecture/articles/2013/december/23/ carlo-scarpas-cemetery-for-brionvega-boss/

Before referring to extreme cases of rebel modernist, I want to mention the Carlos Scarpa approach to animate modernist space. Scarpa’s used repetition optical illusion and scale, to create ‘’windows of space’’ within his regular boxes. He ‘’suggested’’ the phantom escape with perspective and light. Luis Khan Attempt was even bolder and

more subtitle. He stated that everything starts with a cube. His statement was ensuring to the common sense. Especially if you add to the cubic form a monumental scale. He provided the phantom.

Antti

Lovag

The architecture as it is never interested him, he focused on the man and his

90 Bubble house http://sites.arte.tv/metropolis/fr/lesmaisons-bulles-dantti-lovag

87 Luis Khan's intenral spaces http://artrotation.blogspot.com.es/2014/07/louiskahn.html

Yet the escape in Khan’s case was interior. Creating infinity of hyper spaces and internal windows. I want to

89Anti Lovag on the top of his architecture http://fondsmaisonbernard.com/fr/la-residence-d-artiste/

highlights that the illusions and hyperspaces created dynamics within the inert box. To even less democratic approach, some anarchist detached themselves from the phantom and manifested extreme detour from the modernist flow and even managed to escape the Greek order.

space in order to create an envelops adapted to his needs. Lovag made use of the technological and material development of his era. He manifested a different approach to handle the available technology used for boxes. Hans

Hollen

88 Superstructure over Vienna https://www.giannipettena.it/italiano/biografia/i-radicalihollein-1/

it’s got a different color, pattern and shape than the landscape, it’s position and alignment don’t relate to the landscape at all, and it’s size certainly makes it stand out. And not only that, we can also think of it as different. It’s color, pattern and shape are also very err … what’s the word? … Artificial! (Hollein)

Hans sough confusion through architecture. He was interested in provoking human to interact with architecture, through choking elements. According to him, Architecture should stand out from the environment, providing strange sensations. He believes humans were not meant to live in the static comforting architecture, debating one of the most primal goals of the architect: Comfort (visual and functional) The Stalker (movie)

91 Habitats http://www.junglekey.in/search.php?query=Andr%C3%A9+Bloc&type=im age&lang=en&region=in&img=1&adv=1&start=50

93The Stalker Architecture http://www.ledevoir.com/culture/cinema/499922/stalker-unemetaphysique-intime-restauree

For his movie Stalker , Andrei Tarkovsky used space as a persona , a being in itself. His approach was simple: He created a typical European specifically Russian milieu, then planted a space called ‘’The Zone’’, an abstract sexless spaces which distorted the laws of physics. But mostly, the zone in interactive to human: It provokes a metaphysical psychic state within the ‘’invaders’. What Made this movies intriguing to me, was that, whoever manage to exit the zone, would go insane or would commit suicide. The impact of the place and its autonomous identity is what made this movies a cult for pan-European architects. Andre

http://www.admagazine.fr/architecture/balade/diaporama/lessculptures-dandre-bloc-a-meudon/30858

Bloc

Andre Bloc was had an architectural formation but later in his life, he started balancing between art, sculpture and – non post-modern) architecture. Bloc had experimental ambitions for architecture. He has manifested freedom in design unseen in his time.

92 Andre bloc interior

94 82 Theatre in Dakar (proposal in collaboration with Andre Bloc) http://www.nytimes.com/2010/03/10/arts/design/10parent.html

This maybe be due the life that he conducted and the multicultural background he acquired.

It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.’’ (Asawa)

Ruth

Asawa Ruth was mostly famous for her interaction with her sculptures. She was able to use wires as a three dimensional lines. Her perception of space was similar to the 3d modeling software’s.

Ruth Asawa’s work is highly sensitive in term of special genesis. She was famous for her crocheted wire sculptures, which are inspired by the Mexican’s baskets making. ‘’ I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. 95 Ruth Asawa’ interaction

96 Endless house model

http://murmurevisible.blogspot.com.es/2013/12/ruth-asawa-19262013.html

http://untappedcities.com/2016/01/26/explore-the-concept-of-theendless-house-at-the-moma-work-by-frank-gehry-mies-van-der-rohediller-scofidio/

Frederick Keisler ‘ Kiesler theorized heavily on the

technological environment, part of the "total environment," which consisted of "a whole system of tools" which he defined as "any implement created by man for increased control of nature." Thus, all three environments of Kieslers co-reality are represented through this definition. Indeed, Kiesler stated, "No tool exists in isolation.

Every technological device is co-real: its existence is conditioned by the flux of manâ&#x20AC;&#x2122;s struggle, hence by its relation to his total environment." (Kielser, 1939) Furthermore, co-reality did not simply refer to a co-existence between environments, but that these environments were fluid and ever changing. In 1937, Kiesler began the Laboratory for Design Correlation at Columbia University, which began his investigation into correalism. He subsequently published their MobileHome-Library which examined the coreal relationships between the human and technological environments, using human needs as the starting point for the design process, countering the usual "preponderance of strain upon the user, not the tool." Kiesler would continue to head the Laboratory for Design Correlation until 1941.

fluidity

the

design.

Keisler had intensive writing. He was theorizing the metaphysics of architecture, for which he established three approaches: Connectivity: He perceived space as a whole unique system. For this cause, he delivers a continuity of materiality, a single unit architecture. Automatically, he opposes the additive behavior of humanâ&#x20AC;&#x2122;s approach to design. Besides materiality, the curvilinear structure enhances the fluidity and connectivity of his space.

98 One of Keisler's experimentation for the endless house https://dprbcn.wordpress.com/2009/09/21/endless-house-frederickkiesler/

Frederick

Keisler

came

from

97interior of the endless house model https://www.moma.org/explore/inside_out/2015/07/16/the-animationof-frederick-kieslers-endless-house

theatrical background. While He was contemporary to the Corbusier and Frank Lloyd Wright, He was aware of the phantom development. His was orthodox in refusing the standardization and fabrication of architecture. He opposed the orthogonal rational design as well. Keisler opted for a free flowing design. His architectural illustrations were considered as surrealistic automatic-drawing, which ensured the

Correalism: correlation + realism correlation is the dependent relation between two notions. The term is used in biology to describe an existent constant link between two systems. Realism: is the aptitude to accept situations and facts, in order to develop an accurate behavior and attitude. Keisler invented the term in 1939 as an alternative direction for processing space. He opposed strongly to functionalism and opted for timeless architecture. An architecture of infinity, of spirals and eternity. According to correalism, the form is the result of physical and metaphysical forces. The nature of these connections between human, nature, space and time is what he described as Correalism.

Until they grow into tumors of skyscrapers. The coming of the Endless House is inevitable in a world coming to an end. It Is the last refuge for man as man. (Keisler, 1966)

Eternal spaces/ Etheral spaces How about simple geometries with unusual scale? 99Spacial configuration of the endless house http://utopies.skynetblogs.be/tag/kiesler

Keisler states that Matter is only one single expression of space, the static expression of the dynamics of the interactions. I quote his words on the endless house in his 1966 book ‘’Inside the endless house’’: 100 Eternal spaces ‘’The Endless House is called the “endless” because all ends and meet continuously. It is endless like the human body. There is no beginning and end to it. The “Endless” is rather sensuous. More like the female body in contrast to sharp-angled male architecture. All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multilinks, secretive or obvious, or through the whims of memory. One One One

box box box

next to below above

another. another. another.

https://www.designboom.com/architecture/wai-architecture-purehardcorism/

These spaces have proved timeless. Using Scale, human established a sense of interiority to the architecture. The latter have defied time itself and became an architecture for itself , not for the people only.

Space

Genesis

Architecture should be a happening, a manifesto, a response to an immediate action and the interaction itself. The box became a phantom prison of humanity. The symbol of comfort zone. But nothing grows in the comfort zone. For example, the study of gender architecture states that, when in a comfort zone, human tend to shape the space in an additive way: decoration. The deeper the comfort zone the more decorations are generated. This in in reference to homosexuality and creativity. Homosexuals tends to present extreme case of introversion, due to the social pressure. This resulted in extreme internal sensitivity towards space. In queer architecture, genesis of spaces comes from the internal dynamic dilemma. Such metaphysical forces are the true emissive forces of man.

They were free to experiment on the notion of space. The dared to produce atmospheres unfamiliar to our artificial behavior. By the latter I am referring to the repetitive standardized pattern. Hence, space in my experiment is generated by different motors. A interactive response to a different need.

Yet with the phantom around, the forces remains additive to the design. Human accepted the idea that life comes in a box. I believe this is the true misery of humanity. I wanted to explore a new way of generating space. This made me question the reason I declined the phantom so intensely. Most of the architects listed before escaped the phantom by touching other disciplines. Which is logical, because Architecture originally is not a static separated field.

I talked to Dr. Alberto, how humans live in a constant ‘’air troglodyte’’ I was referring to how as we move , we are creating dynamics in our surrounding. Hence,, I was interested in the human as an energy field. When researching, I found similar research using the fluidity phenomena. Which used the fluid instead of my ‘’air reference’’.

Mode of production of space The fluidity phenomena were dynamic, and produced organic shapes Exploring the fluidity phenomena was the direction I wanted to take to create spaces Using 3ds max. I was able to explore. An algorithm that simulates a fluid in movement. The fluid dynamics changes over time. The change of form and its unpredictability provoked the Growth concept. I perceived the process as metabolism. I viewed the different states of the movement as growing systems, over time. The first experiments consisted of exploring, the reflective fluidity movement. In which the fluid runs around the specified morphology. The resulting morphology from the impact were blobs. I asked Dr. Aref: When to Stop ? He

replied:

When

you

want.

101 Authors' illustrations

I applied the reflective fluidity to human shells, human paths and different human related morphologies. The evolution of the state along time is what made me refer to it as dynamic. I wish though if this dynamics will remain

102 Authors' illustrations once built. Maybe in the future this will be possible.

Growing

Fluidity

I needed an argument. Beautiful morphologies without a purpose were already explored. Plus I was not interested in the shape. I was interested in the mode of creating the space. The blobs provided the happening effect: They are the instant manifestation of an interaction. These experimentation were purely an introduction to the origin of the algorithm and to have a better control over the computational tool... Dr Aref insisted that I understand the logic behind it, before I fully adventure with it.

Relax value: This experimentation documented the effect of the relax value

parameter. Resolution: This experimentation documented the effect of the resolution

I spent two days inspecting the algorithm and its functioning. After a whiles, families and generations of designs emerged. Observations

â&#x20AC;&#x201C;The blob size: This experimentation documented the manifestation of the blob size parameter.

103 Authors' illustrations

parameter.

Scale :this experimentation documented the difference of the same growth, when applied at different scales.

Difference between 150 and 100

scale1

difference between 100 and 150

scale0.5

Difference between 100 and 75 scale 0.75

Scale 150 104Authors' illustrations

Line test: this experiments documented the behavior of the blobs in terms of connectivity and assembly 105 Authors' illustrations

â&#x20AC;&#x201C;

The

kangaroo

experiment:

This was experiment zero, the direct manifestation of my encounter with the ‘’deviant’’ Fluidity algorithm. Starting from a human scaled box (3.5 3.5, 3,5) with the human in the center , I created a connection between the edge’s points and their centers. Then applied forces (negative to gravity) to relax the curves. Then applied he fluidity algorithm. The position of anchor points as well as the forces points were located according to the position of the person. This experiment was very intuitive and instant. The blobs were shaping. A space was created. Observations : : -Sculpting of space -Internal space / external space -Duality massiveness , lightness -Growth of the blobs -Different treatment

106 Personal sketchs

The Human path experiment: This experiment explored the possibility, of creating a human pathway. Then apply the growth on the surface of the path. - The space in this experience is generated by the pathsâ&#x20AC;&#x2122; morphology, not by the blobs. -The interconnectivity of the blobs is better understood at this scale.

107 Author's illustrations

This experiment explored the possibility of mixing multiple generations, in other words, two types of growth. The mixture was highlighted with different treatment for each growth. Again, according to human paths and applying more realistic forces of gravity. I played with the massiveness and the lightness between the blobs in order to obtain better spatial quality, the notion of ‘’system spaces’’ and ‘‘spaces created by systems’’ started to build up. The spaces created by the system are the one exploited for human functions. And the

offer. Without changing the paths: More understanding of my behavior towards the algorithm became obvious to me: I was

sculpting the space out of a 108 3d printed pieces of the model

109 Author's illustrations

spaces of systems are the blobs that might be the support of soil or other materials later. And here, I noticed the emergence of a third spaces between the two types of growth. At this stage, the aim of the research was to understand the growth, have more control and explore what the algorithm has to

looping system. The thick moucharabieh-like system, envelopes the other growth some part yet in the others, the opposite is valid. This led me to reflect on hyperspaces, internal and external spaces of a system. (The third space mentioned before) The duality of treatment was abandoned for the 3d 110 3D printed model assembled

printed mode, to get better resolution. Yet the model was printed in two pieces and then assembled together. Bellsgard Pavillion : application case. Guiding the growth towords a human shell resulted in a functional bubbles system. we were asked to design a pavillion , for the bellesgard caste.The demande consisted of a small , nature-inspired , ticket vending box. For one person of service and one customer. In a more kinesiological approach.A hyper sphere was created. One that fits with the proportion of a single person, and the other is rotated in order to have a space for one passing human. Once the spheres established , the pathes of growth were created on the surface. the algorythme identifies meshes , not lines. These tubes are the pathes of the fluidity algorythme. The base of the growth, the algorythme is the genocode. The growth was parametrized according to the range of proportions of thickness projected fo the pavillion. the spheres were relaxed according to realistic gravitational force, and the pathes os the growth, were twisted acording to the intersected area between the two spheres. As the demand only

asked for a window selling ticket , the function was the source of distortion.

111 Authors illustrations

r z

112 Authors Illustration

The bellesguard Pavillion

113 The graphic elements

114

Renders

3d printing this model have proved to be easier than the previous experimental one. In one piece as a start. Also, taking off the structure

115 3d printing process author's pictures

Struggle

for

construction

For the construction method part , we aimed to propose the minimal cost possible. -

The

sliced

version

Using 123maker Software , we explored the possibilites of using stacked slices of polywood.The strategie was to balance between the minimal material (number of slices, number of polywood sheets) possible , and the original esthtetis of the desgin.Personally, i went with more Statique esthetis :the horizontal slices were not staced , they were connected to the vertical

116 Authors illustrations -

The

packed

tubes

this experiment tested the possibiliy of constructiong the pavillion , with packed centric tubes. The tubes were generated with an algorythme.The diameters were coordinated with the new modified triangualar mesh. A smal experiment with the model making was conducted.

The

wire

The wire This experiment aimed to explore more the notion of the ‘space of system’’ and the ‘’space created by the system’’. this notion was blurry during the ‘weight of space- experiment’’. The space created by the system, is the space intented for human function. The space of system is a possible vessel for other scales of functions, weither its micro-organic or macroorganic life systems.

117 Author's illustrations

At this stage, neither of the previously listed construction method were in synch with the project. It was natural for me to step back to the itinal motor behind the design. Guiding the fluidity phenomena in a kinesetical approch , was perceived and conceived as a growth,an instant emmergence based on the need.

This architecture is sexless , it’s growth has stopped the instant the fluidity stopped. It has became clear to me that i must find a more suitable method of construction. A one in harmony with the concept, a one that deals with creating architecture that deals with space , as it grows.

examples

growth

building

Mycelium is a living agent-system. The hemp fiber structure built here connects two Plexiglas plates and it provides a good substrate to mycelium growth. Result shows a redundant and hyper connected system: a fibrous composite material made of (and by) mycelium. (Tabelini, s.d.)

As recited by Dennis Dollens,injecting an agent within the system will ensure it’s autonomy and vitality. . 118 http://myceliumtectonics.com/

Actually Myelium was first suggested by Claudia Pasquero , when she was a guest at one of our presentations.She saw that it was ideal for the project. Or , in an anabolic method , the growth of the elements from the tubes add new aspects to the project , resulting in a new mutation (phenotypical) or attribution (durability , change of function) 119 Author's illustration

Experimenting on a new level of Growth: to inject life within the system at this level of the project, a nerf system of tubes was created on the surface of the pavilion. This is the support of life: Moss, Mycelium…. The purpose was to ensure the continuity of the growth within the system. The growth might even proceed in a catabolic method, resulting in the deterioration –even the ‘’extinction’’of the project.

121 Render of the nerf system

Setting the network of life on the surface was not an easy task on grasshopper.

The origin of the nerf system is the position of the ticket seller. The edges of the nervs connect to form a close circuit and the pathes were optimized. 120Author's illustrations

The final model / exploring the mode of production of space : the first step , was to create an exact mold for the project The pavillion was divided in three parts. In order to have the correct morphology when assembled. Using the cnc for such hard curves and angles proved to be challenging. But with the right tools and the right amount of time. The mold was a sucess. The second part of the experiment , was to inject Foam into these gaps. the Foam application method mimicked the 3d printing layering strategies. Foam usually is applied in an instantly and rapidly.gesture. as the material fill the space projected. This operation took a huge amount of time. It was necessary to leave the foam settle. Foam gain volume as it hardens.After a couple of hours. The foam settled and showed a very â&#x20AC;&#x2122;beautifulâ&#x20AC;&#x2122; behaviour : The material provided a ponteneous addition to the morphology. Organic ans sturctured. The foam magnifested the expression of my hand gesture : the aplication methood lines.

122 Author's pictures

123 Author's picture

The internal structural behaviour of the polysterene. The connectivity reminded me of the Mycelium network.

I have experimented with the foam before applying on the final model. I realised that , with time , the foam can harden and even be shaped as the void presented. I used it on several silicone tubes. And the result was the same for all: If given time , foam can be shaped as wanted and be resistant. What made me chose this method was

Mode of production of space: Fluxus The aim of experimenting with this model , was to adress arhitecture as a happening, an event. Achitecture emerges from destruction . The aplication of the disolvant , resulted in the ‘’destruction’’ of the mold , leaving behid only the model. The mold was specificly created with polysterene , as both materials’ reactivity to the dissolvant have already been tested: The disolvant only afects the polysterene.

This experiment was agressive in term of material behaviour and toxinty (Fluxus ) .yet , the internal morphologies were perfectly shaped and resistant. The 3d printer method , of applying the foam, ended up creating an internal density. A result absent in the previous experimentation wth foam. When appliyed normally , foam formation tend to have internal air locked at the ‘’MOMENT’’ of its genesis. Thus deforming the shapes and structure. Again , time and scale were the keys to manipulate the foam. I was mimicking a machine to maximize my performance. The process was chocking deliberately. I needed to make a statement about the happening of architecture. 124 Author's pictures

125 The new formation author's picture

Aref Highlighted that the Application of the Foam is a mimicry to the Fluidity algorithm: Mostly for the experimentation part, the mechanism of ‘’throwing’’ the foam is similar the the fluidity algorythme. Was I mimicking the software unconsciously ? Is this the reason the foam application ‘’felt’’ right and appropriate?

I only realised my mimickry once Aref pointed it out. I was thrilled to lean that I acted naturally. This made me realise the alloplastic and autoplastic relations between me and the algorythme.. Perhaps all those hours that I have spent with the algorithme is what nutrished this behavior.

To even a further level of lecture , this experience made me realise that the code of genesis on the virtual realm must be embeded within the strategie of contrustion. Also , this method of modeling proved to be cheaper that the original strategies.

126

Author's illustration (inspiration from the mangas Naruto shippuden)

On the struggle between the natural man and the artifitial man: With this studio , I explored the virtual realm, seeking dynamics and possibilities unaivablabe in life. The concept reminded me of this fantasy character that emerges wood from nothing and shape it as he wants : Growth. I wish that was possible in real life.Yet in this exercice, computation provided the Natural behaviour. The struggle here was in projecting the virtual into reality.

Commun digital tools and fabrication provides similar results. For innovation , one must adventure with his feet into reality. ‘’Let the theory and research persist. That is for your own growth . In the meantime keep one leg in reality. To Balance yourself. This is only if you desire serving the commun architecture and change it.’’ These were the contnent of Matias Del Campo ’s words to me ,when he came earlier to the masters.

During this studio , I finished my first drawing essay. I decided to wrap the era. The drawings , as s static state , or ‘’fossils’’ ( fixed sate in time’’ ) were a new interresting language. But I wanted to develop more of it. By wrapping it, I wanted to bae on it and grow more.

127 W.N. S. Personal Drawing

Before I end this chapter , I want to confess about my inspiration for the project. Wich was a symphonic musical composition titled Bolero de Raval. I was introduced to this symphony at a very young age.At the beginning of this studio , the sound came back to my life.I decided to investigate the ‘’mystic’’ effect it evoked in me.There must be something into it, now that I learned how to observe. The symphony was experimental.Maurice Raval , It’s architect , was exploring a specified theme , from a demande.Then the theme was annuled and suddenly , he had full freedom to compose : no obligations . He was inspired by the spanish dance , the bolero. ‘’A theme That will not last one minute, but i am going to repeat it until 18 minutes counting. ’He stated at the genesis of Bolero.

One melody. Repeated in a ‘’crescendo’’ ( growing) way. The loop of the melody is so perfect that the end felt unnormal. The song keeps on growing and growing in a almost compulsory way.That was its rule, its algorithm. 128 What really amazed me was the reaction this piece received.: Anrés Suarès , the French poet, wrote that the melody is the print of Maurice’s misery.As this entity had to get out of him , after taking hold of his mind. It was Natural for it to be express itself. Also , in the premiere of the piece , a women started showting in the end : ‘’Oh the crazy man, Oh the crazy man’’ When Maurice herd about this, he stated that she understood everything.

Bolero

Raval

partition

https://www.partitionsdechansons.com/pdf/15154/MauriceRavel-Bolero.html

Personally , this song evoked the growth concept in me.Just like a seed: I liked the natural behaviour in its genesis. It was instanant happening. I have no musical background , but I started to investigate the partitions.Wich doesn’t need an expert to notice the repetitve notes and sequences. (this project was later developped with Karl Chu’s studio but abandonned)

02 Digital Theory Theory -Philosophy- -art-sociology-litteratureAnthropy- Psycho-analysis

Lectures held by Neil Leach

Neil as a conducter .

were so promissory and futuristic that people now want to give it a little time before that history gets which I think is probably a good idea’’ (Lynn, Archeology of the Digital, 2014) Greg Lynn Is Theory is the manifestation of the narrative? According to Dr. Neil leach, Greg Lynn’s Statement of the absence of a digital theory is valid. He praised the experimental work of some Nerds, but no solid theorization, of the digital field. By nerd, Dr. Neil was referring to the explorers of the digital field. The one who are adventuring ahead with algorithms and computations. Also, According to Dr. Neil, eyes from different fields have turned to the digital exploration. Such as, Philosophy, Psychology, Neuroscience, Linguistic, Anthropology and Artificial intelligence. All of these sciences are contributing to the ‘’genesis’ ’development’’ and the ‘’understanding’’ of the digital Happening. ‘’An experiment: one half of all architect and urbanists in the entire world should, as of now stop designing new buildings and development all together. Instead they should invest the historical depth and intellectual nuance of their architectural imagination into the new design and programing of new software that provides for the better use of structures and systems we already have. It is simple matter of good content management. The other half, the control group, may continue as before.’’ (Bratton, 29)

Dr. Neil was triggering different disciplines and different areas the lectures covered much topics such as. Human Linguistics, swarm intelligence, space architecture, science fiction architecture. Body architecture. The field is no longer an independent discipline. Architecture is merging with Biology, Computation, engineering, music, visual art, philosophy, consciousness……They are all merging and the dynamics of the merging is acceleration in an unseen way. Dr. Neil Ultimately gave us an update of the current scene. Highlighting that we are in the front Line of the research.

Neil introduced us to multiple references in the current uprising scene I would like to mention the work of Lucy McRae and Bart Hess. Their work manifested a forced mutations on humans. Which clarified the concept of the post-human era. Neil stated that these beautiful mutation may seem futuristic, but then he add that the era is already starting. We are silent hybrids, unaware of our

Khaldoun’s Assabiyah concept: Ibn khaldoun stated that human gatherings are compulsory behavior. Also, he added that with the development of the human awareness, these compulsions find new expressions of social gathering.

mutations.

Who knows, what future cyborgs will manifest as new behaviors? (assabiyyah)

129 Body Architecture interesting.com/lucy-mcrae

http://all-that-is-

anthropology

Natural born Cyborgs Andy Clark the anthropological observation of the Cyborg definition, can extend the hybridization level to every technological tool in our possession. We are all equipped with phones, laptops, televisions. All these gadgets are an extension for our somatic bodies. New Prosthetics mutating the original design. An

enhanced

I remember asking a previous professor about the cause of the multitude and non-uniform directions of architectural and artistic movements in the late century, in comparison to history’ standardized eras (gothic, renaissance). She replies that all is connected to humanities’ social catalysts, such as industrial revolution and world wars. The immediate reactions were intense and automatic, yet the ‘’enlightenments’’ humans faces afterward are those essays to figure out how to be in the new chaos. Since the development of Connectivity, especially the internet, our dynamics as a species have accelerated. This is due to the accessibility to access the data realm.

human:

that makes of us all cyborgs. As part of the generation that witnessed this transition, I can state we were acquiring technology, in a progressive way. We identified technology as new gadgets to learn. I can state that younger generation are developing these gadgets as acquisitions.

Everything becomes responsive to our instant desire. Also, this connectivity allowed human to escape the normal spatial conditions: we can act at several places, across the globes, far from our somatic body. This is mostly ensured by the internet revolution. This is a digital mutation for humanity. In comparison to the mutation in nature,

This is nothing new to humanity. But the interesting factor, is that this generation were born into the internet. Connectivity have been a human aspect for a long time now. Back to Ibn

130 The computer human, scene from the movie Lucy http://www.indiewire.com/2014/08/ilm-gets-trippy-with-scarlettjohanssons-vfx-in-luc-bessons-lucy-191315/

the transition is silent. Which is the same case for humanity. Popular awareness is far from being conscious about the digitalization of humans. Yet, humans are developing these prosthetics and got costumed to its use. ‘’Our minds are plastic’’ Dr. Neil stated, human manifested high level of tool adaptability and manipulation thought the history. He then referred to the psycho-analysis and neuroscience. At this stage, he referred to Antonio Damacio’s book, Descartes’s Error.

The book delivers that the brain is not a commander, that the mind-body connection it’s not a top down system commanded by the brain. He states that feelings are part of the process. Damacio view on the brain as a balancer of emotions, a thermostat. If the person gets too excited then the brain will calm him, if the person gets too calm the brain will excite him calm. The mention of the book intrigued me to learn more about it. One of the

This was the first highlight of the week: Damacio is a neuroscientist that adventured to find the real brain position, within the human conscious system. I instantly stopped Dr. Neil and asked him about the title. He replied that it was in references to deconstructing the old method of thinking. Homeostasis: setting the atmosphere. ‘’Survival depends on the on the maintenance of the body’s physiology within an optical homeostatic range. This process relies on fast deduction of potentially deleterious changes in body state and on appropriate correctives responses. Changes in body state cause automatic physiological reactions as well as mental experiences – feelings- such as hunger, thirst, pain or fear. Evidence suggests that body state changes are mapped topographically in the CNS (Specifically, in the upper brain stream and cerebral cortex). Changes recorded in these neural maps serve as triggers for physiological corrective responses and for interruption of those responses once the deviation has been rectified.’’ (Damasio)

131 Personal Drawing highlights of the book, and Dr. Neil referred to this, was that human connect to the outside world through emotions. And that the process is interactive. Dr. Neil described the mechanism as hydraulic. At this stage I was possessed by the idea of the homeostasis: Dosing the feelings and preparing an internal atmosphere. I wanted to experiment on this.

Obviously, my drawings were connected to feelings for me. I prepared an empty realm for pattern to emerge. I was aware of the feelings behinds my movement. But the notion of

homeostasis brought up the idea of experimenting more with feelings and atmospheres. Personally, I loved how Damacio, a neuroscientist, was talking about feelings. And the dynamics of the exchanges between human and the immediate space. Actually, When Dr. Neil Talked about human capability to bond with spaces, he recited the example of people in jails bonding with their room. Calling the phenomena a Stockholm syndrome for architecture. Then he described this phenomena as a form of adaptation. Afterwards, Dr. Neil mentioned the two types of adaptation between space and human, which are autoplastic and alloplastic. Autoplastic adaptation is when the environment adapts to the humans.

I personally referred this to the psychotropic architecture of the book: ‘’the thousand dreams of Stellavista’’ (mentioned before), in which the intelligent houses adapts to the owner. Dr. Neil on the other hand, explained the autoplastic adaptation with the example of Salvador Dali’s approach to create surrealistic spaces. The paranoiac-critical method: Dali created this method to produce his artworks, mostly painting. This procedure was

used mostly for optical In wich the space magnifest phantoms and traits.Space animated by

illusions, humanoid becomes emotions.

‘’ The technique consists of the artist invoking a paranoid state (fear that the self is being manipulated, targeted or controlled by others). The result is a deconstruction of the psychological concept of identity, such that subjectivity becomes the primary aspect of the artwork’’. Wikipedia this has been a revelation. I found the words that described exactly what I experienced. But in my case, I had little control over the invoked state. In the introduction, I used the term disappear to describe my desired state. By that I referred to the state of no identity, no labels and no utopic manifestation. I remembered how people saw phantoms figures in the drawings. I saw them too .Yet I felt that my intervention was still timid. My interactivity with the paper was timid until this point.

computation. No, the last statement is wrong. One of the latest experiments of metabolic essay was bold. Number 82. That drawing had the most subjectivity in it.

Human extended their definition as a system. Now we embody space and

I drew it during spring vacation in my house. It took me four days. Decoding and generating it. It was fun to draw. It was the most pushed one (four days was the record time i have spent on one drawing)

So far, I drew in buses, trains, hikes, class, airports. I was exposed. I was enjoying seeing the prints of the internal and the external factors in the drawings. Whatever input I had from my environment, I used it. Spilled coffee shaped my drawings, bio-digital sculpture became my muse. Dr. Neil explained the case of adaptation to the environment by alloplasticity. In which the human becomes static. The human becomes the space. The human becomes architecture. Which led us to Body architecture. Dr. Neil talked about Body architecture as a new manifestation of the posthuman era. The field viewed architecture as an extension of the human body. Such sensitive approach was mixed with fashion and

134 Author's pictures technologies within us .We transcend space with technology. But what about our immediate space? I thought to myself at this point, that if two people can share a house, what kind of sharing will we have with future cyborgs: will people merge into one system? Dr. Neil used the word Avatar in reference to intermediate systems and to refer to possible use of the enhanced human phenomena.

I realized that I have been creating connexions with my architecture and art. When approaching from a nonstructural point of view. The functional attribution of space have been a method of conceiving architecture. We tend to create places of attribution. Utopias of functions. What about the other places, the heterotpias :From Latin Hetero (ἕτερος : Heteros : another , different) (τόπος topic place) Latin for Another place. Foucault elaborated the term to refer to places with hidden layers. As for the heterotopias as such, how can they be described? What meaning do they have? We might imagine a sort of systematic description I do not say a science because the term is too galvanized now — That would, in a given society, take as its object of the study, analysis, description, and ‘reading’ (as some like to say nowadays) of these different spaces, of these other places. As a sort of simultaneously mythic and real contestation of the space in which we live, this description could be called heterotopology (Foucault)

Coming from Middle Eastern background, now I realize that we were filled with heterotopic data: The introvert attitude of Islamic tradition led to developing layers of social bubbles. There was a big segregation between Utopia and Heterotopias. The places and the other places. The common realm and the personal realm the tradition of interior Gardens in the image of paradise (Eden Gardens) manifests the effort invested in harvesting the heterotopic dimension. The space of our primary perception, the space of our dreams and that of our passions hold within themselves qualities that seem intrinsic: there is a light, ethereal, transparent space, or again a dark, rough, encumbered space; a space from above, of summits, or on the contrary space from below of mud; or again a space that can be flowing like sparkling water, or space That is fixed, congealed, like stone or crystal. Yet these analyses, while fundamental for reflection in our time, primarily concern internal space (Foucault) .

Neil took the veil at this stage. By the word veil, I refer to a concept that I have developed since I was a kid. I am originated from a small town in Tunisia. Nothing ever happened in my native city. Television was my window to the world, like many others. In my case, I separated life on the screen than the one I was living: the screen showed mainstream artists, events, even crimes. This is a common virtual illusion humanity is facing. I refer to it as the veil. Later in life, I forgot about this concept until only recently when Dr. Neil point it out indirectly. We were in the middle of a discussion and he turned to me and said: ‘’ It is all happening now. You are in the front line of this field, in the zone. ’As he talked, I started drawing. A new form that I have never

. Drew before was created. He looked at the doodles and told me ‘’Based on your drawings, I advise you to Try to the Iranian Iwans’’. How did he know? I have a deep fascination about them. I told him that before I adventure with computation, I need to understand the logic behind my drawings. He, like Dennis, Told me to seek the code behind it. ‘’One algorithm’’: that’s all you need.

Mutation Due to their intuitive source, I will be referring to the drawing as the natural me. And I left them natural since the beginning of the masters. Yet, with Dr. Neilâ&#x20AC;&#x2122;s flood of information, I thought of playing and adventuring. With the natural. But I was afraid of being artificial. I had multiple languages and codes in my disposal. I wanted that each language becomes a system that interacts with other systems.

That weekend, I wanted to do more of number 82.I had vague concepts in my head: - Homeostasis: setting the atmosphere - The Paranoiac-Critical method: This time, I chose the feeling to evoke. - Heterotopiaâ&#x20AC;&#x2122;s: Perceiving common reality differently - I wasnâ&#x20AC;&#x2122;t so sure about the Figurative, but this time, when I saw a phantom, I ceased the chance and highlighted it. I have my own mutated medusa.

136 ''Katzen'' Personal drawing

02 The Loop Of Design Workshop-Fabrication-Theory-research

Lectures held by Pablo Lorenzo

The

new

technological

tools

and

fabrication methods provide predictable result. In an attempt to escape on this new reality, Pabloâ&#x20AC;&#x2122;s experimentation consisted of: - Taking pictures of Sagrada Familia - Use these pictures to generate a 3d point cloud - Create a mesh from these point cloud - Send the mesh to the C.N.C. machine on metal - Have the prints of the data on metal Objective : The behavior of the material caused unpredictability of the result Before launching the experiments, test on the behavior of the metal were conducted.

The

transfer

Data

By taking pictures of the interior of Sagrada Familia , w created data of information. The collective data of different point of view (position of the camera), gave position to the position of each point of the resulted point cloud. The relativity of the procedure intrigued the discussion of perspective. And the origin of perspective

137 Author's illustrations

My first contribution to the project was to extract the domes of the mesh created by the point cloud. The tremendous amount of data was created a very heavy mesh. The group started working on a smaller mesh that can be manipulated easily. While I aimed for the detailed mesh. After establishing a strategy, I was able to extract a high resolution of the desired part. Which we sent to be applied on the metal.

This resulted in what Pablo called: ‘’Prints of the logic of the sturcture of the Sagrada Familia’’.

138 Author's illustrations

After This experiment, we were asked to present a personal project about it. Pablo’s approach was obviously an escape of the loop of the design that exists nowadays. Plus, on the light of a discussion about the perspective and its origin, I made an observation: - Material object was taken in pictures - Pictures translated into point cloud - Point cloud into material object My experiment was simple: I re-did the process for the outcome. The resulted metal was becomes the initial object of photography.

I repeated the process many times, asking one question: When to stop? The conclusion of the observation was that the ‘’Prints’’ that Pablo was seeking, were always manifesting themselves.

139 Author's illustrations

02 Genetic Architecture Theory -Philosophy- -art-sociology-literatureAnthropy- Psycho-analysis

Studio by Karl Chu

100

In the end of the year, we had a two weeks studio with Professor Karl Chu. So far, Dr. Denis talked about the Natural behavior of systems and the artifitial life. While Dr. Alberto talked about generating life genetically and mutating existing one. Furthermore Dr. Neil have theorized for us the Posthuman era. Dr Karl Chu came and explained that Architecture is even beyond everything we knew. ‘’Architecture is The Construction of possible worlds’’ (Chu) At first glance, one might think that by this statement, Dr. Karl refers to the fact that architecture is a ‘subject of the subjectivity’’ of the architect. Which is an aspect the field has witnessed since the human history: every design is part of the architect’s world and universe. But as Dr. Karl talked. He explained how architecture today, is a mere phantom of an ancient possible world. Yet we are still hanging to it. He highlight that the real problem is that in our time, with our tools and understanding, architecture need to catch up to its true potential. According to Dr. Karl, humans today are in the possession of two major elements that are shifting humanity to the posthuman era. The first one is the Discovery of the human genome Project, and the second is the Advancement in computation. The human genome project Dr Karl Chu stated that the discovery of the human genome project allowed Humanity’s shift toward its next evolution.

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Unveiling the code of life on earth, gives human not only the possibility to force mutations, but even to create something out of nothing. This possibility is a first in human history. So far we have been mimicking life, consciously and unconsciously. Humanity have believed this truth for as long as it existed. Yet the world as we know it is shaken by holding the code of life. A form of life interfering with life itself. This aspect has been considered Divine so far. Karl added that human intervention should be handled with precaution. Not only for ethic reasons, but because of the interference in life itself and the unpredictability of the result. Yet, Nature always finds its equilibrium and balance. The addition of Human-made life will integrate the existing ecosystems in life. This is a mere theory.

Karl clarifies that we are only in the beginning of the shift. Architecturally, Karl stated that the physical world is the assembly of information (matter, energy) He then referred to Mie’s Van Der Rohe’s statement that architecture is the art of putting two bricks together. Karl stated that in his approach, architecture is the art of putting two bits together. In other words, Architecture would be constructed out of data, bits that are able to self-replicate, self-organize and self-restore. The replications and organization will generate behaving systems. Internal and external relations and interactions will emerge infinitely between the systems.. Creating a growing autonomous body of systems

and

data.

In other words, the world as Data: if a gene is a unit of hereditary information, this field claims to recreate an architecture that feed on its internal data, build a body of system derived from those information’s, to selfpropagate it infinitely .Such vision is not a utopic dream, in the contrary, Karl declared that the emergence of possible worlds will generate an architecture that surpasses

to a body of systems in an autonomous, infinite and natural behavior. The infinite possibilities of resulting bodies of systems, is what Karl refers to as

141 Karl Chu Metaxy https://www.designspiration.net/save/783679249905/

‘’possible

140 L-System any utopic vision. We are pushing a itself. And life will express itself. Karl then referred to the analogy between architecture and the DNA. One DNA hold all the information necessary, for the construction of a specific body of systems. It had the rules, the sets, the obstacles, the scale of growth, and the interactions…All of this data that enables one DNA to be autonomous and dynamic. Finally! I got an answer. I didn’t even have to ask Karl when to stop the growth or about the dynamics of architecture. With his statement, Karl clarified the role of the architect, as the ‘’injector of information’’. It is no longer a dictatrixes behavior neither a utopic vision. The architects plants the data, and architecture will emerge from systems,

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worlds.

This is the act of the natural man. The autonomy, and self-growth is what qualifies this architecture as Natural. With this said, natural systems have shown complexity, alien to human before. Such feature was missing in the bio-mimicry field. But with modern computation and artificial intelligence. Human can perform such operations.

Computation:

The

gilbert

Machine

‘’Computation is the modern equivalent of a global alchemical system destined to transform the world into the sphere of hyper-intelligence being’’ (chu) Karl stated that computation, offers a realm for the possible worlds to be generated. As computers reads bits, and perform mathematics rules, in complexity unfound in humans. He added that Quantum Computers are the key for the ‘’Genetic computation’ ’Once they will be available, the construction

of possible worlds will be ‘’possible’’.

connecting. As it is an infinity of sub

Karl didn’t mention the term virtual illusions, yet he referred to the computation realm as infinite. One that you may get lost in. People often get sucked into the realm of computation and stated manipulates tools. But then the interactivity between the man and the computer is limited by the tools provided by the computer to the user. Hence, the computer is controlling the user, and constricting him. This is what Karl warned us about.to get lost in the fascination of tools and become slaves to the computation. At this point, Karl referred to the internet and the matrix(s).

142 ESARQ computation week

The virtual heterotopia the internet is the biggest phenomena is the history of human communication. It extended the physical world into a virtual endlessly growing matrix. The internet transcended physical space, gaining autonomy and intelligence. From this point of view, the internet falls into the third and the second principles in Foucault’s definition of heterotopias. As it is consisted of an array of information and accessible through common devices. “Cyberspace handily embraces notions of

the other, limits access and presents contradictions of purpose, illusion, and the imagination and deviancy“(M/C Journal) Sherman,

Young.

(Sherman)

In the end of his paper, Foucault’ ship metaphor was cited as an opening to future extension of the definition. Because the artificial man would follow the theory letter by letter. This example was made to generalize the concept. With this said, internet is a virtual space, composed of infinity of sub spaces that are growing, branching and,

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https://architecture.uic.es/2017/02/15/computational-design-modeladobasico/

spaces, growing, connecting…A heterotopic emergence related to the growth of the internet. The participative aspect of the internet is the vibrant agency behind its dynamics.

Genetic

computation:

Handling the genetic research as a toolbox, and using computation realm as an application field. The new genetic architect have an opportunity to explore this uprising field. This is a step further in bio-mimicry, as the field is interest is the genetic-engineering field genetic computation is a step further than biomimicry. As it is only interested in the genetics exclusively. This virtual realm is a non-utopic one. The process done by computers are considered natural behaviors. Using mathematics, computers processes the new genetic codes of architecture (seed by planted by the architect) to behave autonomously. A simulation for the earth’s genetic in the computation realm.

This new genetics are about to change the life on earth. The capacity to interfere with the genetic code will cause a drastic shifting in the future of species on earth. The natural aspect of this phenomena, is that it has occurred when no one was predicting such thing. It was the natural evolution of crossover of human research as a result, the once unthinkable, inconsiderable god-like power is now acquired by human.

happens. At this stage of the masters I started to believe that ambition is a natural feature. Karl mentioned the butterfly effect. This was to highlight the possible past, possible future and ‘’possible’’ present. He pointed to how each action , each moment and each present state, can lead to infinity of possible futures He added that the present , is the fruit of a possible past, one of infinite possible ones.

This example put all of the class in dreams. Karl referred to this in the hope of projecting this in the genetic architecture.

143 Dodecahedron and L-System (Infinity) http://forum.jotero.com/viewtopic.php?t=25&start=675&sid=99ff7ed99 3881dcdac4c8954ea6f8113

Remark that such qualification were part of the artificial man’s goals. The eccentric point of view of humanity comes from an artificial desire. And through scientific research, scientists, one after the other, were breaking this ego-centered artificial world. Galileo basically stated that we are not the center of everything, that we are part of something bigger than us. Tesla was miserable because of the artificial unconscious behavior of humanity. Yet he was the one who domesticated electricity. And finally, the gilbert machine was invented, not in the purpose of creating a computer. The research aimed to find a solution for a mathematical problem. The essay resulted in what we call today the computers. By reciting all these examples, I am stating Natural behaviors have led to such manifestation, and also, Life

104

In principle, a universe of possible worlds based on generative principles inherent within nature and the physical universe is thought to be within the realm of the computable once quantum computing systems become a reality (Chu). With this said, Karl confirmed that through genetic architecture, we are not aiming to reach a state, nor guide the growth. But instead, the realm of computation offer the possibility to navigate through the possible worlds of genetic manifestations. With this said, the degrees of complexity in the resulted possible world’s remains only dependable on the sensitivity of the architect to perceive and create connexions in the Genome. Again, all of this will be subject to real application once quantum computation are made accessible to research. By having better understanding of the genomes and its expression, the architect can even push desired possible mutations into the design. Karl added that we should witness very soon, the bio-mechanic mutation of

organic and non-organic systems. But the goal remains the same: Building a new species from scratch substance. Information is the currency.

and morphologies will be generated based on the original genetic code. Its genetic source ensure its autonomy and Dynamics. A feature absent in the Present architecture.

The bio-mechanic mutations of species can serve as a transitory phase for the shift in life on earth. The mutation will touch species that constitute our acquisitions and reality. Will nature evolution include these new mutations?

Actually, Present static architecture follows factors exterior to it, such as the utopic vision of the architect - as mentioned before, but-, or the pure functionalism, but genetic architecture is autonomous.

Evolution in nature consists of the optimization of the performances. The evolution process feeds on complexity and increases complexity in nature. So by interfering with evolution and knowing our, are we somehow able to predict its course

My question is: can Genetic architecture be optimized along the exterior factors too?

the

future

open.

(Deleuze)

Deleuze statement indicates that the future is not given by the past. The openness to future world(s) is beyond the human understanding. Life is unpredictable in a creative way. Humans cannot fully corners the agencies taking part in the natural emergence. If an instance of a certain emergence was delayed by a second, the new instant-related emergence would change the course of the entire evolution. In all of Karl talks, the man (as architect) manifests natural behavior and towards architecture and Life. Weather its present observations or the attitude toward time itself. The man is freed from any artificial conditions. So far, architecture has been a slave to subjective mythical utopias. Which is why the field never fulfilled to its true definition. The architecture of possible worlds have its own autonomy and will. Forms

105

Nowadays, the optimization of design considered is the revolution of contemporary computation. Yet, I wonder where this optimization fits in the genetic architecture. Will the bodies of systems consists of sensors? Just like for natural systems? Probably, considering that the senses are what connects us to the exterior world. The field is still experimental with many surprises to come. Karl ultimately clarified this question by defining the representation a nonrepresentational aspects of computation. The first one is in references to the non-virtual worlds (outside the virtual realm).While the second concept have no pre-exited conditions and doesn’t ‘’rely’’ on outers factors. Such model of behavior is considered the purest form of information processing the absence of inherent information’s expands the possibilities of generated worlds to no limits. The emergence models its own reality within an axiomatic interior rule set. The artificial Genome: mathematics while computer software’s are considered an analogue to the process of life. The computer itself is considered

a form of bio-mechanical organisms. Hence, the device is a manifestation and an expression of the real world. Yet from the gilbert machine (primitive days of computation), the device have shown automacy unseen before in human creations. And later on, the addition of the screen facilitated the interaction between the human and the device. The software’s that followed manifested the machine’s ability to create virtual realms and spaces. Then, with the accessibility to the internet, Computers transcended space and the virtual reality started to manifest itself (virtual reality started the implication of software’s actually)…And today, computers are viewed as the support of ‘’in-vitro fertilization’’ of genetic architecture. With the current expressions of computers, people tend to forget that the keyboards is only a translator to the interactivity between human and computer. Actually, our uses of computers is defined by the tools given to us. It is for this reason that Dr. Karl started talking about languages. Karl kept referring to the computer as the gilbert machine He did this for the purpose of referring to the original language of the computers: Mathematics. Again, the Turing machine was a mathematical manifestation. As the result of an essay to solve a mathematical problem. The churchTurin thesis 1934-36 stands as the genesis of computation. For every Algorithm, an equivalent Turing machine exists. That Computer reads mathematic logics and follows mathematical behavior as a processing motor. The catalyst factory in computation is the capacity to process mathematical information, in a manner unseen before with the existing

106

formalism and prediction in the field (Human mathematics). This aspect is due to the capacity of artificial processing, to handles multiple sets of rules at once, a quality alien to human. In other words, computation can handle the complexity existed in the behavior of natural systems. This has been stated by Stephen Wolfram in his book ‘’a new kind of science’’, in which he add that the aim of computation is researching the possibility of creating an artificial life. Wolfram suggests that computation is a more appropriate mean to artificialnatural processes.

all processes , whether they are produced by human effort or occur spontaneously in nature, can be viewed as computation Stephen

Wolfram

While the expression of the artificial genome remains related to the mathematic connexionq and conditions of the code. The metaphysics of the possible worlds remains related to the genetics by applying two genetic rules, which are self-replication and recursiveness. The later mentioned is a function that call its current or previous state by applying the same rule repeatedly. While the self-replication stands for the self-referential logic to reinvent itself. These logics are translated mathematically in the artificial genome, causing the generative attribution of the possible worlds. Avant-garde attempt to turn to science and technologies to create new worlds. Genetic architecture can fit in that category.Genetic architecture adapts this philosophy, far beyond biology aspect of bio-mimesis.

Karl was repeating the same concepts using the same etymology, with the purpose of explaining the architecture of possible worlds. To be in the presence of such man, I got the chance to observe him and his approaches. I was intrigued by mostly by the language he brought to us.Which consisted of creating simple mathematical relations between symbols, along generations of genetic trees. Then reproduce those generations in graphs that can constitute a topology. The process in infinite. Hi approach used Simple mathematic functions along genetic rules. Then the generations were represented geometrically. As we spoke his language, generations started to form. Then after a while, we began to notice the reclusiveness and the self-replication that he referred to before. After a while, we started to connect the initial mathematic relations of the symbols with some expressions in the generations. In the long practice of the language, one might even be able to provoke a certain complexity in the systems and later in the topography. My interest in Karl’s language and behavior led me to investigate more on its source. As a result, I was introduced to the genetic Hermeneutic approach of Peter Einsman. His theory was to establish a sense of interiority in architecture, and unveiling the autonomous quality His approach consisted of introducing a new way of rewriting the genome, which is the diagram. ‘’In contrast to genetic systems, a genetic hermeneutics is a generative modality based principally on the interpretation of the sense of interiority embedded within a series or tradition’ (Chu).

107

144Einsman mapping DNA in order to construct a diagram review.com/rethink/viewpoints/computers-in-theory-andpractice/8646960.article

According to Einsman , any algorithmic code without the purpose of interiority in not acceptable. Thus, the role of the diagram is to serve as an agent to simplify the relations created within the system, later.

This led me to investigate on the other directions of the genetics architecture, which were the algorithmic architecture and the genetic monadology. The Algorithmic architecture is the most known in the field due to its formal expression. This direction is based on the formal recursion of a defined geometry, using the fractal systems and the Lindenmayer Systems. The third direction of the genetic architecture is the monadology of genetics. Monadology is one of the earliest attempts in sketching out a system of principles that generalizes the nature of the world from an abstract point of view; it shares conceptual properties that are now deemed to be fundamental to the

science and philosophy of computation Karl chu Metaphysics of genetics architecture.

Interiority of architecture, autonomy of the generative: theory of genetic architecture. 3 ideas, same concept: rewriting the first one is precursor in the genetic architecture field the other two rely on formal recursion (fractals.) Eisenman has introduced a less formal way of rewriting, a hermeneutical inscription: the diagram derived from a monadology of genetic architecture. Which is an extension and a transformation to leibnizâ&#x20AC;&#x2122;s monadology From a philosophical point of view, both approaches operate in the void opened up by the absence of the word, in the fertile space that is now being traversed by computation in the search for the code of existence â&#x20AC;&#x201C; even in the oblique sense that it has imparted to architecture since time immemorial. KARL CHU

146By accident, I created a definition that generates a 2d complicate Voronoi of anygiven morphology ( wscal, repetition)

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145 Renders of the resulted topogrophy

Dr. Dennis pushed the metabolic aspect.

Conclusion: The human

Homeostasis

‘’In everyday thought, people often spontaneously imagine alternatives to reality when they think "if only...» Their counterfactual thinking is viewed as an example of everyday creative processes. It has been proposed that the creation of counterfactual alternatives to reality depends on similar cognitive processes to rational thought.

A central feature of honing theory is the notion of a potentiality state. Honing theory posits that creative thought proceeds not by searching through and randomly ‘mutating’ predefined possibilities, but by drawing upon associations that exist due to overlap in the distributed neural cell assemblies that participate in the encoding of experiences in memory. Midway through the creative process one may have made associations between the current task and previous experiences, but not yet disambiguated which aspects of those previous experiences are relevant to the current task. Thus the creative idea may feel ‘halfbaked’. It is at that point that it can be said to exist in a potentiality state, because how it will actualize depends on the different contexts it interacts with. Contexts may be internally generated (imagining what would happen if…) or externally generated (e.g., building a prototype and trying it out’’. (GABORA, 2014)

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Dr. Alberto and Aref helped me research the movement Dr. Neil made me provoke mutations.to experiment of the state of mind Dr. Karl Chu provided an answer: plant the seed, no narratives, only possible futures, possible past, and autonomy.

started

experience:

The second Monday with Karl Chu, we had I drew. I provoked a certain memory. And it was manifested. I pushed the mutations further and I enjoyed establishing a more complicated language out of the old alphabet. The drawing grew for three days. This time, I was filling my silence by choice, not necessarily paranoiac feeling. I Continued drawing after the classes were finished. Little by little. I started eliminating every outer factor. I needed to print my desired state of mind. Hence, I started drawing, only. The dynamics were found in another form, in the continuity and the looping mechanism, as well I guided the growth without being artificial. I still act locally. I didn’t put any narrative in the beginning. I threw thoughts, weather real or unreal, they shaped the narrative later. But You have been described my experience chronologically, between the masters, the drawings and my personal life. all is architecture. I close this thesis with a preview from my second book, the homeostatic Experience. With the hope of remaining natural toward my behaviors, I invite all of you to push yourself from any artificial condition.

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Hollein, H. (s.d.). Récupéré sur https://misfitsarchitecture.com/tag/h ans-hollein/ Johnson, S. B. (2001). Emergence: The connected lives of ants, Brains, Cities ans sofware. Keisler, F. (1966). Inside The Endless House.

Bibliographie Asawa, R. (s.d.). David Zwirner. Récupéré sur http://www.davidzwirner.com/artists/ ruth-asawa/biography Benyus, J. (s.d.). Récupéré sur https://www.ted.com/talks/janine_be nyus_biomimicry_in_action/transcript Bratton, B. H. (29). i phone city. chu, K. (s.d.).

Lynn, G. (s.d.). Lynn, G. (2014). Archaeology of the Digital. Lynn, G. (2014). Archeology of the Digital. Lynn, G. (s.d.). Animate Form . North, A. (s.d.). The concept of Nature. Oxman, N. (s.d.).

Damasio. (s.d.). Descartes' error.

Oxman, N. (s.d.). Conversation on Bio-mimicry. Récupéré sur https://arts.mit.edu/modelingmimicry/

Dawood, N. J. (s.d.).

Perez, I. (s.d.).

Deleuze. (s.d.).

ri, R. (s.d.). clotmag. Récupéré sur http://www.clotmag.com/ren-ri

Chu, K. (s.d.). The Archeology of the future.

Diderot, D. (1772). Denis Diderot: supplement au voyage de Bougainville*. Eglash, R. (s.d.). African Fractals. Foucault. (1971, November 28). Faucault , the lost interview. Récupéré sur https://www.youtube.com/watch?v= qzoOhhh4aJg Foucault. (s.d.). Of Other Spaes: Utopias ans heterotopias. GABORA, D. L. (2014). magazine.seymourprojects. Retrieved from https://support.office.com/enus/article/Add-a-citation-and-createa-bibliography-17686589-4824-49409c69-342c289fa2a5

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Kielser, F. ( 1939). "On Correalism and Biotechnique: A Definition and Test of a New Approach to Building Design.".

Sherman, Y. (s.d.). Of Cyber Spaces: The Internet & Heterotopias.". Récupéré sur http://jjacobcriticalresponse.blogspot. com.es/2011/03/heterotopia.html Tabelini, G. (s.d.). mycelium-tectonics. Récupéré sur http://myceliumtectonics.com/ Termote Delphine Complexity or Complicity in bio-digital architecture 2009

1 Mind Pattern- Personal drawing .................. 6 2Mind Pattern ................................................. 6 3 Mind Pattern ................................................ 6 4Marina - personal drawing ............................ 7 5Prehistoric cave painting https://www.pinterest.com/pin/12230094610 9569798/ ....................................................... 10 6 Judgement personal drawing ..................... 11 7''NirVana'' Personal Drawing ....................... 11 8Dali's eye - author's picture ......................... 13 9https://www.flickr.com/photos/qwghlm/207 8758606Sagrada's familia model by Gaudi ... 13 10 personal drawing ...................................... 13 11Abbes Ibn Farness http://www.forgottenislamichistory.com/201 3/11/abbas-ibn-firnas-worlds-first-pilot.html ....................................................................... 16 12mucem of marseille by rudy ricciotti http://www.lemonde.fr/culture/article/2014/ 06/16/a-marseille-mucem-qui-rit-mac-quipleure_4438777_3246.html .......................... 16 13Shinkansen bullet train https://www.gizmodo.com.au/2015/06/whyjapans-bullet-train-will-finally-bring-highspeed-rail-to-america/ .................................. 17 14Kingfisher Bird http://www.thisiscolossal.com/2015/11/kingfi sher-symmetry-alan-mcfadyen/.................... 17 genetic Barcelona project 15http://albertotestevez.blogspot.com.es/201 4/01/bio-digital-architecture-genetics.htmlThe ....................................................................... 18 16Glow in the dark bunny http://www.neatorama.com/2006/08/13/gen etic-engineering-art-glow-in-the-dark-bunny/ ....................................................................... 18 17Bio luminescent water Tasmania http://www.insidethemagic.net/2017/03/vide o-bioluminescent-water-creates-real-lifepandora-tasmania/ ........................................ 18 18Avatar The movie's Luminescence http://www.enchantingcostarica.com/activities/a-liquid-sky-of-bluestars-bioluminescence-in-costa-rica/ ............ 18 19Bio Lamps http://albertotestevez.blogspot.com.es/2014/ 01/bio-digital-architecture-genetics.html ..... 18

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20Bio Lamp shttp://albertotestevez.blogspot.com.es/2014 /01/bio-digital-architecture-genetics.html ... 18 21Thought Bubble http://www.suipark.com/ ...................................................................... 19 22Sui Park abstract design http://www.suipark.com/ ............................ 19 23Flow http://www.suipark.com/ ............... 19 24alive cells morphologies https://www.slideshare.net/sth215/twotypes-of-cells-eukaryotic-and-prokaryotic-cells ...................................................................... 19 25Portrait http://www.suipark.com/ ........... 19 26’’Grenade of thoughts’’ personal drawing 20 27 ‘’Cellule’’ personal drawing ..................... 20 28''Asabiyyah' 'personale drawing ............... 20 29 ''m3awej'' personal drawing .................... 21 30 ''Sirens'' Personal drawing ....................... 21 31''Yamina'' personal drawing ..................... 22 32''Fossils'' personal drawing ....................... 22 33artwork from the book ''the thousand dreams of Stellavista http://www.existentialennui.com/2011/05/th ousand-dreams-of-stellavista.html ............... 23 34Scene from ''i Robot'' Movie http://pratoom.freeddns.org/can-a-robotwrite-a-symphony-251434.html ................... 23 35 Matmata https://www.viajesdesertrose.com/inicio/qu% C3%A9-ver/matmata/ ................................... 25 36 Matmata's vertical troglodyte https://blogeuropcar.wordpress.com/2015/04 /06/top-4-raisons-pour-visiter-tunisie-byeuropcar-tunisie/ .......................................... 25 3731A deviant Troglodyte presenting the artifitial pushd behavior http://looklex.com/e.o/troglod.htm ............ 26 38The ''timid'' intervention of Star wars architecture from the book ‘’Cross section of Star Wars’’ BY Hans Jenssen ......................... 26 39Worlds largest Ant colony, an example of animalistic architecture http://www.dailymail.co.uk/sciencetech/articl e-2095335/Underground-ant-city-Brazil-rivalsGreat-Wall-China-labyrinth-highways.html .. 26 40Fractals (Tool Observation) African Fractals By Ron Eglash ................................................ 27

41Fractal (urban observation) African Fractals By Ron Eglash ................................................ 27 42 Hassan Fathi's Architecture https://www.wmf.org/sites/default/files/articl e/pdfs/New%20Gourna%20Report%20Final% 2015%20Meg.pdf .......................................... 30 43 From 2d to 3d Author's illustrations........ 31 44 Sculpture : infection 1 .............................. 32 45 another 3D essay author’s image ............ 32 46 Sculpture : infection series ....................... 32 47The pimple connector Autho’s image ....... 33 48The panel's logic ........................................ 33 49The panel emergence- Author’s Illustrations .................................................... 34 50 Snake's spine https://www.britannica.com/animal/snake/Fo rm-and-function ............................................ 35 51 Bat wing https://www.quora.com/Arethere-any-animals-that-have-had-hands-andwings.............................................................. 35 52Spider's morphology http://blogs.cornell.edu/naturalistoutreach/fil es/2013/09/How-Do-Spiders-Move1bpzbvb.pdf ................................................... 35 53 The movement of the jelyfish http://raymichemin.canalblog.com/archives/2 014/07/24/30303557.html ........................... 35 54Group work’s illustrations ........................ 36 55 Group Work’s illustrations ....................... 37 56 Group Work’s illustrations ....................... 38 57 The funny Diva - Author's picture............. 38 58That moment: Diva's unpredictibility – Group work’s illustrations ............................. 39 59 Group work's illustrations ........................ 40 60Group work's illustrations ......................... 41 61 group work's illustration .......................... 42 62 Tension personal drawing ........................ 43 63'' INTENSegrity'' personal drawing ............ 43 64 ''Unit'' Personal drawing .......................... 43 65 Diva Fœtus - Personal drawing ................ 44 66 '3' Personal drawing ................................. 44 67 Ronald Rael 3d printed pottery http://www.emergingobjects.com/project/ba d-ombres-v-2/ ............................................... 45 68 Dogon's earthern architecture https://www.flickr.com/photos/27784269@N 06/sets/72157627948694528/ ..................... 45

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69 Ronald Rael 3D printed pavilion https://ced.berkeley.edu/ced/facultystaff/ronald-rael............................................ 46 70 The Yuansu II project illustrations https://www.pearllam.com/exhibition/ren-riyuansu-projects/ ........................................... 46 71 D.I.V.A. Xray ............................................. 48 72Reaction diffusion https://mrob.com/pub/comp/xmorphia/ .... 50 73 Group work's illustration ......................... 50 74Pattern created by Sound frequency) http://butdoesitfloat.com/patterns ............. 50 75 Author's pictures ..................................... 51 76 Author's pictures ..................................... 52 77Capello next to its print - Author's picture 52 78 Author's pictures ...................................... 53 79 The Parasitehttps://www.pinterest.com/pin/29062298217 4026038/....................................................... 55 80 create the void - personal illustration ..... 55 81 'E' motion - Author's picture ................... 56 82 The malleable manifesto https://archimorph.com/2012/07/13/themalleable-manifesto/ ................................... 56 83 create http://www.mak.at/kiesler/schulprojekte ... 56 84Crlos sarpa's visual ''escapade'' ................ 57 85 Carlos Scarpa's window http://es.phaidon.com/agenda/architecture/a rticles/2013/december/23/carlo-scarpascemetery-for-brionvega-boss/...................... 57 86 Luis Khan's intenral spaces http://artrotation.blogspot.com.es/2014/07/l ouis-kahn.html .............................................. 58 87 Superstructure over Vienna https://www.giannipettena.it/italiano/biografi a/i-radicali-hollein-1/ .................................... 58 88Anti Lovag on the top of his architecture http://fonds-maisonbernard.com/fr/laresidence-d-artiste/ ...................................... 58 89 Bubble house http://sites.arte.tv/metropolis/fr/les-maisonsbulles-dantti-lovag ........................................ 58 90 Habitats http://www.junglekey.in/search.php?query=A ndr%C3%A9+Bloc&type=image&lang=en&regi on=in&img=1&adv=1&start=50.................... 59

91 Andre bloc interior http://www.admagazine.fr/architecture/balad e/diaporama/les-sculptures-dandre-bloc-ameudon/30858 .............................................. 59 92The Stalker Architecture http://www.ledevoir.com/culture/cinema/499 922/stalker-une-metaphysique-intimerestauree ....................................................... 59 93 82 Theatre in Dakar (proposal in collaboration with Andre Bloc) http://www.nytimes.com/2010/03/10/arts/de sign/10parent.html ....................................... 59 94 Ruth Asawaâ&#x20AC;&#x2122; interaction http://murmurevisible.blogspot.com.es/2013/ 12/ruth-asawa-1926-2013.html .................... 60 95 Endless house model http://untappedcities.com/2016/01/26/explor e-the-concept-of-the-endless-house-at-themoma-work-by-frank-gehry-mies-van-derrohe-diller-scofidio/ ...................................... 60 96interior of the endless house model https://www.moma.org/explore/inside_out/2 015/07/16/the-animation-of-frederickkieslers-endless-house .................................. 61 97 One of Keisler's experimentation for the endless house https://dprbcn.wordpress.com/2009/09/21/e ndless-house-frederick-kiesler/..................... 61 98Spacial configuration of the endless house http://utopies.skynetblogs.be/tag/kiesler .... 62 99 Eternal spaces https://www.designboom.com/architecture/ wai-architecture-pure-hardcorism/ .............. 62 100 Authors' illustrations.............................. 64 101 Authors' illustrations.............................. 65 102 Authors' illustrations.............................. 66 103Authors' illustrations............................... 67 104 Authors' illustrations.............................. 68 105 Personal sketchs .................................... 69 106 Author's illustrations.............................. 70 107 3d printed pieces of the model .............. 71 108 Author's illustrations .............................. 71 109 3D printed model assembled ................. 71 110 Authors illustrations ............................... 73 111 Authors Illustration ................................ 73 112 The graphic elements............................. 74 113 Renders ................................................ 74 114 3d printing process author's pictures ..... 75

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115 Authors illustrations .............................. 76 116 Author's illustrations ............................. 77 117 http://mycelium-tectonics.com/ ........... 78 118 Author's illustration ............................... 78 119Author's illustrations .............................. 79 120 Render of the nerf system..................... 79 121 Author's pictures.................................... 80 122 Author's picture..................................... 81 123 Author's pictures ................................... 82 124 The new formation author's picture ...... 83 125 Author's illustration (inspiration from the mangas Naruto shippuden) .......................... 84 126 W.N. S. Personal Drawing...................... 85 127 Bolero de Raval partition https://www.partitionsdechansons.com/pdf/1 5154/Maurice-Ravel-Bolero.html ................. 86 128 Body Architecture http://all-that-isinteresting.com/lucy-mcrae ......................... 89 129 The computer human, scene from the movie Lucy http://www.indiewire.com/2014/08/ilmgets-trippy-with-scarlett-johanssons-vfx-inluc-bessons-lucy-191315/ ......................... 89 130 Personal Drawing .................................. 90 131 Nbr 82 personal drawing ....................... 91 132 nbr 82 personal drawing ....................... 91 133 Author's pictures ................................... 92 134 Personal drawing ................................... 94 135 ''Katzen'' Personal drawing ................... 95 136 Author's illustrations ............................. 97 137 Author's illustrations .............................. 98 138 Author's illustrations ............................. 99 139 L-System .............................................. 102 140 Karl Chu Metaxy https://www.designspiration.net/save/78367 9249905/..................................................... 102 141 ESARQ computation week https://architecture.uic.es/2017/02/15/comp utational-design-modelado-basico/ ........... 103 142 Dodecahedron and L-System (Infinity) http://forum.jotero.com/viewtopic.php?t=25 &start=675&sid=99ff7ed993881dcdac4c8954e a6f8113 ....................................................... 104 143Einsman mapping DNA in order to construct a diagram review.com/rethink/viewpoints/computers-intheory-and-practice/8646960.article ......... 107 144 Renders of the resulted topogrophy ... 108

145By accident, I created a definition that generates a 2d complicate Voronoi of anygiven morphology ( wscal, repetition) ... 108

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