ABOUT ME
“
I I I I
IMAGINE DESIGN CREATE CURATE
BLENDING ART, SCIENCE AND TECHNOLOGY I DESIGN UNIQUE INHABITABLE BOUNDARIES OF EXPERIENCE.
ROXANE FALLAH
EXPERIENCE 2017 -PRESENT
FREELANCE DESIGNER
ARCHITECTURE/ INTERIOR TECTONIC DESIGN INSTALLATION/DISPLAY DESIGN FASHION DESIGN MASK DESIGN
ARCHITECTURAL/ INTERIOR DESIGNER
2016 -17
UNIVERSITY OF CALGARY
FULL- FUNDED RESEARCHER . MULTIDISCIPLINARY RESEARCH ON LIVING ARCHITECTURE AND FUTURE OF DESIGN TEACHING ASSISTANT . INTRODUCTION TO ARCHITECTURE AND DESIGN . ARCHITECTURE DESIGN STUDIO [RESPONSIVE ARCHITECTURE] . COMPUTATIONAL MEDIA DESIGN FABRICATION LAB MANAGER 2015
MARSHALL TITTEMORE ARCHITECTS (MTA)
ARCHITECTURAL DESIGN ASSISTANT- CONCEPT DESIGNER- SITE ANALYSIS AND MASTER PLANING- DEVELOPMENT STUDY- 3D MODELING AND VISUALIZATION 2014
CONTACT +1 7789577420
2011-12
WWW.ROXANEFALLAH.COM
SECRETARIAT OF ARCHITECTURAL EVENTS
ARCHITECTURAL RESEARCH ASSISTANT - WEBSITE MANAGER - ARCHITECTURAL WORKSHOP
@roxanefallah roxane.fallah@gmail.com
DEBICKI SPETA DESIGN
ARCHITECTURAL DESIGNER - CONCEPTUAL DESIGNER - DESIGN DEVELOPMENT - RESIDENTIAL LAYOUT AND PLANNING - 3D MODELING AND VISUALIZATION - CALGARY SECONDARY SUITES DESIGNER
ORGANIZER - ARCHITECTURAL COMPETITIONS ORGANIZER 2010
NAGHSH-O-ORANG-E-PARS CONSULTING ENGINEERING CO
ARCHITECTURAL DESIGNER AND DESIGN ASSISTANT - MASTER PLANNING AND URBAN DESIGN [REGION 22 OF THE CITY OF TEHRAN] - ARCHITECTURAL TECHNOLOGIST
SKILLS PROFESSIONAL Architectural Design Spatial/Interior Design Art installation Design Research Fashion Design Set design/Staging Product /Package Design Interaction Design Sculpture / Model Making 2D/3D Pattern & texture Design Graphic design 3d modeling Rendering Digital Fabrication
EDUCATION 2015-2019
MASTER OF SCIENCE
COMPUTATIONAL MEDIA DESIGN
UNIVERSITY OF CALGARY - MSc
- EXPLORING NEW DESIGN FOR THE BOUNDARIES SURROUNDING HUMAN [MULTI-SCALE DESIGN] - USING COMPUTATIONAL TOOLS TO SIMULATE NATURAL/BIOLOGICAL BEHAVIOR AND GENERATE PHYSICAL FORMS - USING ELECTRONICS [SENSORS,ARDUINO, ACTUATORS] TO SOFTEN THE BOUNDARIES BETWEEN PHYSICAL AND DIGITAL WORLD - EXPLORING APPROACHED TO ANSWER THE QUESTION OF: HOW CAN OUR SPACE FEELS US AND RESPOND TO OUR ACTIONS? THROUGH EXTENDING THE CAPABILITIES OF BODY BY TURNING IT INTO A CYBORG BODY AND CREATING COMMUNICATIVE, PERCEPTIVE, AWAKENING EXPERIENCES FOR SELF
2007-2012
BACHELOR OF ARCHITECTURE
ARCHITECTURE
UNIVERSITY OF TEHRAN, FACULTY OF FINE ARTS - B.ARCH - EXPLORING THE RELATIONSHIP BETWEEN GEOMETRY AND MEANING - UNDERSTANDING THE RELATIONSHIP BETWEEN CONCEPTUAL FORM AND SPATIAL EXPERIENCE - FOCUSING ON THE RELATIONSHIP BETWEEN HUMAN AND ITS SURROUNDED ARCHITECTURAL SPACE
SOFTWARE Rhinoceros Grasshopper Autodesk Revit VectorWorks Google sketchup Autodesk AutoCAD Adobe Photoshop Adobe InDesign Adobe Illustrator Processing Arduino Unity 3D
AREAS OF EXPERTISE/INTEREST DESIGN Conceptual design Sustainable design Experience design Interactive/responsive design Immersive spatial design
FABRICATION PERSONAL Innovative solutions Creative problem solving Collaboration Communication Research Eagerness to learn Learning ability Flexibility Multi-tasking Honesty
Prototyping Producing fabrication drawings and methods Digital Fabrication Model making Installation
RESEARCH My research intersects biology, philosophy, interaction, embodiment, cybernetics and explores approaches for interdisciplinary design where boundaries of self becomes porous and gets exposed to new experiences. Human perceives reality with her/his sense receptors and her/ his body movement; however, manipulating or extending them triggers new emotions and proposes new understanding of the perceived reality. Thus, changing the predefined definitions/shape of habitable boundaries, adding sensors and processors on the designed objects to turn them into cyborgs capable of receiving data and responding, and dissolving the gap between objective physical reality and digital world of data, my research seeks new ways of experiencing reality.
DE
OF DESIGN
VELOPMENT
PROJECT X
FASHION STUDIO+RESIDENCY As a designer, fashion enthusiast, and artist. I constantly feel the lack of belonging while living in these cold brutal cities. My intention for proposing and designing this project is to build a community of art and novelty. Every element is designed and is having a unique character. It is my realistic Utopian community building where I can live, work, eat, learn, and perform. This project is a combination of a soft and poetic mass (studio, performing are), a cubic, modular volume (residential , educational, and service area) and an extended bent section where two geometries blend serving as a commercial section for the building where public and private merge. Every form and texture represents nature of the underlying function.
A. EXTRUSION OF BUILDABLE ENVELOPE
B. VOLUMETRIC SEPARATION OF PROGRAM
D. MASSING DEFINITION AND MODULATION
E. VOLUMETRIC ARTICULATION VOID
G. ENTRANCES AND ACCESS IMPACT ON MASSING
H. VERTICAL AND HORIZONTAL CIRCULATION STRATEGY
C. DAYLIGHT ACCESS ADJUSTMENT AND GREEN SPINE INTEGRATION
F. VOLUMETRIC ARTICULATION - MODULAR EXTRUSION
I. GREEN WALLS AND VERTICAL FARM
PROGRAM EXPLODED AXONOMETRIC
RESIDENTIAL
COMMERCIAL
STUDIO/ RUNWAY/GATHERING SPACE STORE CAFE
VERTICAL GARDEN
CORE
SITE
FASHION STUDIO As a reflection of functional program on exterior architectural expression, massing of the fashion studio together with surface and texture cladding it, represents geometry and texture of draped fabric and its physical dynamic behavior. A fluid surface of glass and diagrid structure, covered with a texture of curving ribbons generated by magnetic field formation logic, connects studio volume to residential building, blending distinctive nature of their geometries. Fashion studio space has two levels each connecting to education section from one side and to commercial from the other. Distribution of the program in these two levels focuses on workshop, study and public spaces at the ground level and runway, performance, and exhibition spaces at the upper level connected through spatial voids and circulation system, providing a dynamic textile looking background for fashion runway space.
STUDIO SECTION
FASHION STUDIO ENTRANCE
FASHION STUDIO SOUTH-EAST CORNER
SECTION PERSPECTIVE LOOKING AT FASHION STUDIO VOID
RIBBON TEXTURE
GLAZING CLADDING
DIAGRID STRUCTURE
FASHION STUDIO SPACE
WALL CLADDING SYSTEM CONTOUR TEXTURE STRUCTURE AND CLADDING AXONOMETRIC DIAGRAM
BUILDING ELEVATION
RUNWAY SPACE AND PERFORMING AREA
STUDIO/ WORKSHOP
FASHION STUDIO GROUND FLOOR PLAN
FASHION STUDIO UPPER LEVEL FLOOR PLAN
EDUCATION Educational component of the program, located in the lower three levels at the southwest corner of the project, accommodates learning, production, practice, management and BOH functions in rooms such as; workshop, classrooms, sewing room, photoshooting studio, meeting rooms, offices, lounge, storage, mechanical, electrical room, waste and recycling, loading and receiving. All of these levels and their functional programs are dynamically tied to the fashion studio spaces, while the circulation pattern of this section connects to the central core and the central public staircase. Privacy of the spaces re maintained through design articulation of the spaces; however, its visual connection to the rest of the building stays intact through green courtyard.
EDUCATION FIRST LEVEL FLOOR PLAN
EDUCATION SECOND LEVEL FLOOR PLAN
EDUCATION WING SECTION
COMMERCIAL North facing wing of the building, containing commercial programs, connects the fluid fashion studio to the rigid residential block through its form and function. This section consist of a cafe and designer stores, forming a circular economy concept for students, designers, and residents of the building. This section of the building has a separate access for public which serves as the frontage for the complex. Through providing public intake and serving as a designers outlet, this component potentiates possibility for the building to function as a self-maintained community connected to the social network.
COMMERCIAL ENTRANCE
BUILDING ELEVATION - FACING COMMERCIAL ENTRANCE
COMMERCIAL BUILDING FLOOR
COMMERCIAL GROUND LEVEL FLOOR PLAN
COMMERCIAL AND COURTYARD SECTION PERSPECTIVE
DESIGNER STORE PERSPECTIVE
PERSPECTIVE FROM COMMERCIAL ENTRANCE
COMMERCIAL SECOND FLOOR PLAN
COMMERCIAL SECTION
RESIDENTIAL PROJECT X provides residency units for designers and fashion enthusiasts using other facilities of the building. With the world adapting to a life in a pandemic, PROJECT X looks ahead to a post-pandemic world where architecture is about building a community and serving that small community as an independent agent. Supporting inhabitant’s everyday life with access to workspace, livework residencies, exhibiting area, performing area, shopping/dinning area, and an internal vertical farm, this project offers a glimpse of how architecture can run by itself and serve all necessary needs of a community.
FLOOR PLAN - LEVEL 9 - LOWER LEVEL OF LOFT UNITS
FLOOR PLAN - LEVEL 10 - UPPER LEVEL OF LOFT UNITS
UNIT TYPE A
UNIT TYPE A - 01
UNIT TYPE B
UNIT TYPE B - 01 UNIT TYPE C
UNIT TYPE A - 02
UNIT TYPE C - 01
UNIT TYPE A - 03
UNIT TYPE C - 02
UNIT TYPE D
UNIT TYPE D - 01 UNIT TYPE E
UNIT TYPE E - 01 While providing a certain degrees of choice, most of these units offer a participatory home design concept focused on interior layout and finishes. This way an online interface can become the design platform by which the clients can make more choices and establish a better communication with architects and/or manufacturers. In this process, while digital fabrication makes it possible to prefabricate modular building components, in order to save lots of time and cost of on site labor, it is important to be able to also meet flexibility and variability in design and provide a degree of choice for customers. In this multi-residential building most of the components are modular and can combine in different variations.
ASSEMBLY DIAGRAM Residential part of this project is made of cells (units)aggregated and assembled together based on residents’ requirements. Various spatial options and floor plans are designed for each parcel that can mix and match with other cells. By collecting and evaluating resident’s needs, different design options with modular components can be available. In this proposed model, a process of providing mass-customized prefab housing based on computeraided design and product configuration system will allow residents to participate in the flow of the design process from the beginning and allowing the building to grow and adapt in response to change.
A PANELIZED HOME - CELL ASSEMBLY DIAGRAM
MODULAR CELL AGGREGATION DIAGRAM
UNIT TYPE C - 02 INTERIOR RENDER
UNIT TYPE C - 01 INTERIOR RENDER
GREEN SPACE Traditional farming is ruining the environment, and not enough arable land remains to feed a projected 9.5 Billion people by 2050. Moreover; this recent pandemic is teaching us to envision architecture as a selfserving, self-sustaining system providing food for its little community. Project x creates a design opportunity to exploit and utilize some surfaces of building as bioreactive facades which generates renewable energy from algal biomass and solar thermal heat. Moreover, the vertical glass core,is considered as a hydroponic vertical garden which not only purify air and water but also is a viable alternative method of growing edible plants for residents of the building.
ALGAE PANELS Vertical farming helps this building to work as a natural ecosystem. This will allow for increased selfsufficient living, with access to fresh food to all residents all year-round. Moreover, farming indoor offers many environmental benefits and at the same time eliminates the need for fossil fuels.
LIVING WALL BUILDING facades AND TEXTURED WALLS inhabited by algae, plants and other organisms IN ORDER TO CREATE A MORE SUSTAINABLE BUILDING THAT generates renewable energy from algal biomass and solar thermal heat.
HOUSE OF EXISTENCE ARCHITECTURE OF EXPERIENCE
A. Level -1 Of The 2nd Stage
B. Main Level Of The 2nd Stage And The Connection From 1st Stage
C. Upper Platforms And Connection To 3rd Stage
D. 3rd Stage, Hall And Garden Floor Plates and Space Relation Diagram
How can your surrounded space immerse you in a new experience, detach you from time and daily routine, decontextualize you from the boredom of dailiness and instead create a sense of curiosity, awe and aliveness? This quality cannot be reached absent from an environment but rather through an engagement with the form and fabric of buildings and space. In order to enhance the sense of personal connection and experiential relationship in built environments, investing in a sense of place and aliveness in the design is essential. This project allows people find a better understanding of themselves and their own tranquility by attracting people’s attention from natural world(Wisdom - stage 1) to the realm of imagination(Vision - stage 2) and then lead it to unity and pantheism(Love - stage 3) while moving in certain directions and facing various elements that triggers a sensual emotion.
BUILDING FLOOR PLANS
Towards STAGE 3
STAGE 1 STAGE 2
BUILDING SECTION
As many environmental psychologists argue, sense of self is defined and expressed by one’s relationship to other people as well as to the various physical settings that define and structure day-to-day life.
DESIGN PROCESS IN SEQUENCE
BUILDING ELEVATION
PERSPECTIVE VIEW OF THE EXISTING AND PROPOSED BUILDING
EXTERNAL ACCESS POINTS
INTERIOR CIRCULATION AND SEPARATION
BLOCK SEPARATION AND ACCESS
URBAN CIRCULATION
LIGHTING AND ELECTRICAL PLAN
WALL SECTION
INTERIOR ELEVATIONS
RESIDENTIAL COMPLEX This residential complex is located on one of the most dense and populated neighborhoods of Tehran. In this project accessibility of each block to main streets plays a significant role. In order to address this issue, the designed building stretched over the site, is split in parts in order to provide access to all units. This break provides the possibility of having open, green spaces for each block unit that is also referred as social gatherings space. This project is located on a natural slope; therefore, by giving a level of variation to the height of each unit, they all get decent amount of natural sunlight and view to the city.
MASS GENERATION AND UNITS AGGREGATION ON SITES
BUILDING ELEVATION
NEIGHBORHOOD ASSEMBLY
RESIDENTIAL UNITS TYPICAL FLOOR PLANS
AERIAL PERSPECTIVE VIEW
TRAIN STATION This studio project is a railway station with emphasis on structure. In this project not only the relation of functional spaces and their ease of access is an important part of the design, but also providing an innovative, efficient and suitable structural solution that allows creating large spans over vast areas is another crucial aspect.
DESIGN PROCESS IN SEQUENCE
Second Floor Restaurant First Floor Parking First Floor Parking First Floor Parking
SECTION PERSPECTIVE DIAGRAM
SHOPPING AREA VERTICAL TRANSPORTATIONS & SERVICES ARRIVAL HALL
ENTRANCE TICKET STAND & ATM SHOPPING AREA WAITING HALL SERVICES AND FACILITIES TRANSIT AREA OFFICES
PARKING
VERTICAL TRANSPORTATIONS & SERVICES RESTAURANT PROGRAM LAYOUT - 3D FLOOR DIAGRAM
BUILDING STRUCTUREELEVATION DIAGRAM
BUILDING SECTIONS
BUILDING ELEVATION
-1 FLOOR PLAN
GROUND FLOOR PLAN
1ST FLOOR PLAN
2ND FLOOR PLAN
HARMONY
MASTERPLANNING AND ANIMATION Harmony is an architectural animation and a masterplan that translates into a credible and authentic depiction of the Harmony Village in Springbank, Alberta. Designing all the buildings and architectural components from scratch intend to serve as the basis for future detailed Architectural Guidelines that can be developed in future in that region and tries to envision how Harmony village story would come to life after development. This visualization and animation help making a lasting, memorable and durable impact on a diverse and ever broadening market.
S
I
G
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A Utopian render of the future design, where the boundaries between human and machine soften.
E
DRIVEN
-
D
Integration of technology in designing objects/spaces allows people to experience built environments in unexpected ways.
DA TA
BIONIC BUBBLE A CYBORG BOUNDARY
HOW CAN YOUR WEARABLES BE THE EXTENSION OF YOUR MIND? BIONIC BUBBLE IS A RESPONSIVE WEARABLE and a cognitive matter that responds to nearby people by inflating/deflating air. The project is a solution for people with social phobia or an alarming system that visualizes distance of nearby people. This wearable is an extension of mind that reminds us to keep our distance from other people in the time of pandemic.
Employing motion and proximity sensors, Bionic Bubble explores the neighboring environment. Integrated air-pumps actuate a pneumatic system for a desired haptic-visual behavior. When getting close to another living organism, motion sensors receive data and send it to an Arduino board to process it and in turn actuate inflation. Air-pumps inflate and deflate air through the silicone tube to distribute air in the network and control the pressure of it. The garment is utilized as a communication device . Its shapeshifting properties play with the idea of embodied interaction to extend human cognition constantly in search of an external shape for its reaction.
INFLATION/DEFLATION OF AIR INTO THE GARMENT IN RESPONSE TO CHANGE IN ENVIRONMENT.
DESIGN COMPONENTS
DESIGN LAYERS FOR FABRICATION
CHAMELEMOOD
A REAL-TIME DATA VISUALIZATION This dynamic installation is a data visualizing project that represents how people are rating different moods for a list of musics. There are 9 cells representing 9 moods and for each song servo motors exhibit the value for each mood with a pendulum motion. The geometry of this installation is inspired by chameleon skin as it changes color based on data and the mood that comes from environment.
INDIVIDUAL CELLS OF THE INSTALLATION INSPIRED BY CHAMELEON SKIN CELLS. INPUT DATA COMING FROM SOCIAL MEDIA TAGS - HOW PEOPLE RANKED DIFFERENT MOODS OF A EVERY SONG ON A LIST OF 100 TRACKS OF MUSIC
USING ARDUINO, INPUT DATA IS PROCESSED AND THE OVERALL SENSE OF A MOOD FOR A SPECIFIC SONG IS TRANSLATED INTO A NUMBER BETWEEN 0 TO 180.
Introducing the problem of real-time into design means composing new forms out of indeterminate interactions with programmed instructions (code). Furthermore, computational design has turned the Euclidean grid of discrete points into a morphogenetic form: a form that emerges from local relations that change over time (Parisi L. , 2013). The fluidification of the Euclidean spatial matrix is enabled through algorithmic design, which allows transformation of static forms into temporal variations and creation of the perceptive experience of continuity.
OUTPUT DATA [REL-TIME RESPONSE]. Every cell of this installation is associated with one mood and has a servo motor installed in it. This motors can have a range of motion between 0 to 180 degree. When a person reacts to a song and specifies a tag for the moods it represents, this installation represents that data with a degree of motion and rotation.
GROWTH
SPATIAL FLUX IN AN EMBODIED INTERACTION
HOW CAN TECHNOLOGY BE USED TO CREATE EXPERIENTIAL MOMENTS IN LIVED SPACES AND CREATE MOMENTS OF AWE? In this projects bodily engagement with environment questions and deform borders. Territories or boundaries are not just the context for sensory qualities of/for bodies, they are also sensations that shape and define boundaries. Human body can impact the form and behavior of its surrounded borders. Integrating cognitive technologies and distributed intelligence in the material bodies enable construction of bodies with transformative powers.
DESIGN PROCESS
DESIGN WITHOUT CENTRAL AUTHORITY In this process starting with sculpting my subconscious mind , i look into biological forms that represent the similar visual characteristics. Their growth and aggregation properties are used in a bottom-up design agentbased model. Then from their complex adaptive system and from their underlying patterns of behavior complex and unexpected forms emerge. Using digital fabrication tools the simulated design is fabricated and integrated with electronics to represent responsive behaviors to audience.
A AUTOMATISM
[SCULPTING MY SUBCONSCIOUS MIND] Automatism is the process when design is coming from the subconscious mind and designer doesn’t have control over the final product.
B BIO-INSPIRATION
Looking into nature(Living organisms that maintain their body and behavior without a central brain) for inspirational forms and processes that can generate my desired form.
C AGENT-BASED DESIGN SIMULATION
Slime mold’s informational patterns are dematerialized and algorithm of their aggregation and growth is extracted in order to use in a computational model and a virtual simulation. Decontextualizing biological forms from their material body allows us to develop a body of information that can be simulated and interacted with. These sets of simulated relationships have the capacity to generate architectural forms as well as providing the means to discover new material behaviors in pursuit of those forms. In this process slime mold’s aggregation and growth algorithm is extracted.
SLIME MOLD GROWTH SIMULATION Pattern Manipulation - in this study many factors including sensor angle, population of agents, initial density, number and location of attractor points, and etc. can change the emergent network pattern.
SIMULATED MODEL OF SLIME MOLD USING AN AGENT-BASED MODEL THAT CAN MORPH AND GROW AND ADAPT TO CHANGE.
Emphasizing the virtual rather than material properties, collective autonomous agents operate together to generate an emergent form. Each agent interacts with the others to produce an ever-evolving and self-regulated body.
D DIGITAL/PHYSICAL FABRICATION OF THE EMERGENT VIRTUAL FORM
An informational body is fabricated and constructed as an embodied space for the observer to inhabit and interact with
E EMBODIMENT
How can your surrounded space immerse you in a new experience, detach you from time and daily routine, decontextualize you from the boredom of dailiness and instead create a sense of curiosity, awe and aliveness? This project is an experiment to see how an unpredictable and unconventional geometrical boundary enhanced with various layers of light, texture, and sound, alters physical and social behavior of the observer in the space.
This installation is designed in an empty room, turning the neglected space into an awakening of spatial experience where participants actively notice the connection between components of the space they are encountering
This emergent body expresses how a subject in space is mutually intertwined with the observed experience itself in a way that bodies and environments co-shape each other in ongoing processes of differentiation.
F BODIES IN COMMUNICATION
The skin of the body is activated as a tangible interface where sensing of touch and pressure on the surface triggers auditory responses. Four layers of sound are introduced and added up through interaction and over time, causing sound generation and representing growth. These layers of sound offer an immersive atmosphere, while varying parameters such as pitch and amplitude responding to the duration of touch,
Utilizing computational tools, our future buildings urge to be uniquely designed, independent, autonomous and at the same time user-centered. Moreover, cybernetics allows them to be consistently engaged with events and experiences. Implementing an interactive sensory network Growth installation develops into an empathic and responsive design. Several sensors are embedded on the skin of the body that trigger sound by touch. A sonic swarm is programed to operate like a sensitive skin that reacts to touch with different sensitivities manipulated by the audience. The tactile computing of these interfaces triggers and affects the qualities of several sound layers that also are programmed to grow.
Growth - an interactive architecture that challenges the static nature of material space and reimagines ways of shaping dynamic, reconfigurable material bodies
DELUSION
A RESPONSIVE SPACE OF EXPERIENCE
HOW CAN HUMANS NAVIGATION THROUGH SPACE AWAKEN SPACE AND MAKE IT REACT? DELUSION is a re-imagination of physical borders of space. It is proposing new navigation models for the human body where it can influence the embodied self and create more possibilities for the person (observer) to experience. Walking through an ambiguous 3-dimensional voluminous display filled with fabric, the observers lose their orientation while, spatial anchoring through a direction triggers an unexpected sound or a projected color. This dynamic 3D screen creates an immersive physical space where participants aggregate and create a personal narrative through their own individual movement and interaction with material bodies.
INPUT DATA
OUTPUT REACTION
PROJECTOR MOTION SENSORS, RECEIVING DATA FROM VISITORS MOVEMENT IN SPACE.
SPEAKER
Based on the path people choose to take to find their way through this space filled with tulle fabric, motion sensors located on the ceiling collect data and send it raspberry pi. Processing data this information triggers projectors and speakers located in the space. Tracking visitor’s movement the projected frame or the selection of music varies to triggers their curiosity and engage them in exploration of the space.
A
BOUNDARY
LTERNATE This section is about my personal artistic work and how I realize an idea expanded over various scales of design rather that being limited to the scale of a building. Architecture is a skin that we inhabit in; I call it inhabitable flesh and I research to see what forms and deforms this flesh and body of architecture. In this process I question formation of a boundary as an emergent outcome of a creative process rather than imitation of a mainstream.
Nested boundary structures enhanced with extended electronical/mechanical devices are used to explore the circulation of information through a whole closed system. Then, these informational pathways, circulating in the system and connecting the bodies to their prosthetic extensions become the input for constructing the cyborg borders dynamically adjusting to change.
MASK DESIGN CLOSE MY EYES, CLOSE MY MOUTH, MY SKIN WOULD TALK. HOW CAN THE MASK WE WEAR NARRATE A STORY RATHER THAN COVERING OUR FACE AND HIDING OUR STORIES BEHIND? When machines think, design, and make our wearable, creation of any geometry can be possible. Using technology, boundaries between self and the environment can dissolve and the skin in between can form and deform as a reflection of change in our mind and mood or as a representation of change in our surrounding environment, or social, political state. Using computational tools these masks are designed as part of my creative creations. Design of these masks question the ordinary and propose a new form of beauty that can go beyond its raw function and tell a story. As part of a collection designed for a personal client, each of these masks holds a message and narrates a story. Â
WEARABLE ART BODY SCULPTURE
WEARABLE OF FUTURE [3D PRINTED FASHION]
Through material exploration and the use of computational tools and technologies I explore how bodies can deform and dynamically transform in response to real-time changes. In these series of projects the wearable piece as interface, couples boundaries of the human body to the environment and considers the human not as a distinct individual but as part of a bigger system that relies on coupling with it for its continued, enhanced existence. This is intended to coax the wearer into constant engagement in order to explore the ways in which it may respond. These projects are illustrations of reflexivity, envisioned to protect the body, create a personal space for the user, and make the body hyper-aware of its context. After envisioning and designing the piece , using digital fabrication tools, they come to life.
DESIGN
RE SEARCH How can the ever growing technology and its vast investment in various fields of design create the possibility of being liberated from the confines of the conditions that are forced upon us by the rigid boundaries?
DISTRIBUTED AESTHETICS
ABSTRACTING BIOLOGICAL ORGANISMS
MY RESEARCH PROVIDES THE OPPORTUNITY TO UNDERSTAND AND TRANSFORM THE HUMAN BODY AND ITS HABITAT AMID THE DAWN OF ARTIFICIAL SENSITIVITY.
Decontextualizing biological forms from their material body allows us to develop a body of information that can be simulated and interacted with. These sets of simulated relationships have the capacity to generate architectural forms as well as providing the means to discover new material behaviors in pursuit of those forms.
The physical fabric of borders are continuously sensing and monitoring behavior of the bodies they engage, nested boundary structures enhanced with extended electronical/mechanical devices are used to explore the circulation of information through a whole closed system. Then, these informational pathways, circulating in the system and connecting the bodies to their prosthetic extensions become the input for constructing the cyborg borders dynamically adjusting to change (Figure 33). As Katherine Hayles frames it, “information makes the link between boundaries and can flow between carbon-based organic components and silicon-based electronic components to make protein and silicon operate as a single united system� (Hayles N. K., How we became posthuman: Virtual bodies in cybernetics, literature, and informatics, 2008). Moreover, this presumes information as a (disembodied) entity that can flow not only within the borders of the subject (user) but also between subject and environment.
THE CYBORG
REFLEXIVE BOUNDARY (BI-DIRECTIONAL BEHAVIOR) In my research adaptation is achieved through material exploration and the use of computational tools and technologies that enable bodies to dynamically transform in response to real-time changes in their environment. Introducing the problem of real-time into design means composing new forms out of indeterminate interactions with programmed instructions (code). Furthermore, computational design has turned the Euclidean grid of discrete points into a morphogenetic form: a form that emerges from local relations that change over time (Parisi L. , 2013). The fluidification of the Euclidean spatial matrix is enabled through algorithmic design, which allows transformation of static forms into temporal variations and creation of the perceptive experience of continuity. Computation also creates links between form and information. The integration of computation and digital technology allows the process of abstraction of information from a material base, unfolding biological processes into informational patterns, redefining them as the constructed process and then articulating them in an innovative process of design and generation of a new digital object. Involving participatory sensory motor action and using sensory-motor interactive feedbacks transforms the generated shape. Moreover, computation is a means of visualizing and programing abstract ideas and forms, as well as being a processing machine that codifies reflexive boundaries.
METAMORPHOSIS
MICRO SCALE STUDY WHERE THE COLLECTIVE BEHAVIOR OF CELLS GENERATE INTRICATE EMERGENT FORMS Emphasizing the virtual rather than material properties, collective autonomous agents operate together to generate an emergent form. Each agent interacts with the others to produce an ever-evolving and self-regulated body.
Simulated model of slime mold using an agent-based model that can morph and grow and adapt to change. Material behavior in this agent-based model demonstrates flexibility or adaptability to form and maintain patterning over time. Particles sense their environment, self-organize and aggregate to form a cohesive body. The self-organized system proposes a scalable property for the form finding procedure which has the capacity to form spaces at an architectural scale. In these behavioral organizations, agents’ behaviors emerge from their reaction to both environmental stimuli and adjacent agents. Hence, the agent has its own specific morphology that interacts with environments based on the embedded rules. They respond appropriately by developing different patterns as the feedback that correlates their behavior in concert with their environmental stimuli.
ROXANE.FALLAH@GMAIL.COM