THESIS REPORT
The language of porosity: rational randomness VERSATILITY OF INNOVATIVE AND MODULAR CLAY GEOMETRIES Vittoria Fusco Tutor: Ruby Law
MArch AD Architectural Design Cluster RC5&6 The Bartlett School of Architecture 2017/2018
The Bartlett School of Architecture, UCL, 22 Gordon Street, London WC1H 0QB MArch AD Architectural Design Cluster: RC5&6 Theory tutor: Ruby Law Date of submission: 13 July 2018 Student name: Vittoria Fusco Student number: 17145593 Student email: vittoria.fusco.17@ucl.ac.uk
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CONTENT
Abstract
4
Keywords
4
1. Introduction
6
2. Different scales of porosity 2.1 Microporosity and porosity of materials 2.2 Porosity in architecture 2.3 Porosity on an urban scale 2.4 Scalability of our architectural proposal
3. Different layers of porosity 3.1 The first layer 3.2 The second layer 3.3 Uniqueness of our design proposal
10 11 13 17 19
24 26 36 39
4. Porosity in a dualism of space and matter
44
5. Porosity as a process
54
5.1 Porosity as act of adding 5.2 Porosity as act of subtracting 5.3 Porosity as pattern
55 57 62
6. The boundaries of porosity
72
Conclusion
80
Outlook
84
References
85
List of figures
87
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Fig. 0: Clay geometry fabricated with the slipcasting technique.
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The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
ABSTRACT
This thesis report has both a theoretical and pragmatic intent. It will disclose and explicate the nuances and relativity of the concept of porosity. Porosity is a ubiquitous feature, albeit surprisingly unpredictable in its ontological manifestations. The relativity lies in the physical dimensions of porosity, in its interactivity with external entities, in the evanescence of its limits, in the uncertain cognizance of its generating processes and the controversial interpretation of its essence. Yet, it represents, undoubtedly, an immeasurable source of beneficial usages, with advantageous consequences. Ergo, if appropriately investigated and controlled by means of the contemporary digital and parametric instruments and techniques, porosity could become an invaluable resource in the design and actualization of architecture. And this research has been carried out by implementing the porous architectural material par excellence: clay.
Keywords Porosity, clay, scalability, versatility, porous layers, parametric control, rational randomness, aesthetic value, feasibility.
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The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
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INTRODUCTION
Interest in the exploration of nature, with its free forms and logical processes,
porous and allow fluids to pass through them, in different ways and levels.
has inspired architects throughout the
Clay is an interesting example of a porous
ages. Not only did they attempt to imitate
natural material and its implementation in
the biological morphologies of nature, in
our project research raises the material as
order to attain more organic architectural
the emblem of such a persistent, almost
geometries, but also tried to investigate the
obsessive, reference to nature.
underlying structures and mechanisms, to enhance the performances of buildings in
Naturalness should be also achieved
terms of durability, efficiency and structural
in the technological systems adopted,
stability.
nowadays, in architecture. This idea is
When thinking about the realm of living
inherently related to the contemporary
creatures and inanimate objects ascribable
issues
of
energy
consumption,
to the definition of Nature, there is a
environmental pollution, depletion of
characteristic, a physical property, which,
resources and overproduction of waste
although not immediate and noticeable to
caused by the building industry. Hence,
the human’ mind, is, in reality, ubiquitous:
this report aims at proposing an innovative
porosity. In fact, all elements in nature are
and sustainable natural system intended 6
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
to guarantee the health and quality of the
efficiency and innovation.
indoor microclimate: a clay porous wall.
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The functional scope, in this report and,
More specifically, through a series of
more in general, in the design research
examples of the manifestation of porosity
will always run parallel the pursuit of the
on different scales, Chapter 2 and 3 will
beauty of randomness. This will be sought
illustrate how the language of porosity
through the proposition of a revolutionary
has considerably pervaded our design at
language of modular clay components and
all levels and dimensions. The harmonic
the exploration of different manipulating
integration of different porous layers and
parametric strategies which ensure the
the scalability of our proposal will appear
coexistence of aesthetic fascination,
as essential and advantageous qualities. In
Fig. 1.1: Proposal for an architectural application of our modular and porous clay language.
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Chapter 4, a speculative and ontological
5. The evolution of the digital design
argumentation around the topic of the
process and the studied technological
perception of porosity and its influence
solutions which addressed the evidence of
on our design will resemble the dialectical
the feasible application of our innovative
debate of void and matter, with multiple
language to the real architectural world,
philosophic and scientific references.
will be explained in detail. Finally, the last
The technical challenges faced in the
Chapter will debate the controversial and
research of the parametric control of the
intellectual concept of the boundaries as
generating and changing processes of
a limit of a porous architectural language,
porosity, depending on external factors,
and, at the same time, its concrete
will be extensively described in Chapter
implications in the design proposal.
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The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
2
DIFFERENT SCALES OF POROSITY
Porosity is the quality of a certain material
different classes of stones. Human skin is
being porous, full of minute holes which
entirely covered with millions of pores,
allow liquid or gas to pass through it[1]. If
which guarantee its health by assimilating
we reflected more meticulously, for certain
air and good substances, and expelling air
we could assert that, in nature, everything
and oil that help protect it from the bad
occurs due to the porous property of
ones. No natural element, organism or
materials and organisms. Plants fulfil the
entity exists without interacting physically
photosynthesis process through pores,
and
called stomata, which permit the gas
elements, organisms or entities. And this
exchange, absorbing Carbon dioxide
interchange of matter occurs through
(CO₂) from the air and releasing oxygen
micro-voids contained in the molecular
(O₂)[2]. Various levels of porosity typical of
structure of all natural materials.
chemically
with
other
natural
stones affect the absorbance of disparate chemical substances, which causes the configuration, and distinction of the
[1] Houghton Mifflin Harcourt Publishing Company. 2011. Origin of porosity. [online]. Available from: http://www. dictionary.com/browse/porosity [Accessed 26 April 2018] [2] Paet Joseph Martin. 11 December 2010. Plant tissues and organs. [online]. Available from: http://www.dictionary. com/browse/porosity [Accessed 18 June 2018]
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
2.1 Microporosity and porosity of materials Porous materials are classified as low porous, middle porous or high porous depending on the number of the pores[3]. The pores, based on their size, can be distinguished as micropores, mesopores or macropores ranging from less than 2 nm to more than 50 nm. They can be closed and
Fig. 2.1: Cross-sectional image of composite oxide ceramics, a low-porosity material[5]
inaccessible pores or open-interconnected, passing or dead end. Furthermore, they differ in their shape which could be cylindrical, conical, spherical or as slits[4] (Fig. 2.1) (Fig. 2.2) (Fig. 2.3). In terms of utility and functionality of such porous materials, they prove to be
Fig. 2.2: Two-dimensional reticulated materials with square pores[6]
considerably advantageous, especially within the architectural world. One of those which has catalysed great attention and interest in further development over the last forty years is porous metals, divided into metals foams, metal sponges
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Fig. 2.3: Three-dimensional reticulated foamed materials: nickel foam and iron foam[7]
[3] Ali, S., 8 January 2012. Characterization of Powders, Porous Solids and Suspensions. [online]. Available from: https:// www.slideshare.net/sgarrab/mate-280-characterization-of-powders-and-porous-materials [Accessed 19 April 2018]Paet Joseph Martin. 11 December 2010. Plant tissues and organs. [online]. Available from: http://www.dictionary.com/browse/ porosity [Accessed 18 June 2018] [4] Liu, P. S. and Chen, G. F., (2014) Porous Materials. Processing and Applications, Tokyo: Elsevier Inc. [5] Fig. 2.1 Cross-sectional image of composite oxide ceramics, a low-porosity material. [online]. Available from: https:// www.sciencedirect.com/science/article/pii/B9780124077881000010#s0015 [Accessed 17 June 2018] [6] Fig. 2.2 Two-dimensional reticulated materials with square pores. Ibid [7] Fig. 2.3 Three-dimensional reticulated foamed materials: nickel foam and iron foam. Ibid
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
and Nanoporous metals[8] (Fig. 2.4) (Fig. 2.5) (Fig. 2.6). Their porosity is achieved through different chemical and physical processes[9]. Not only do they possess Fig. 2.4: Representative examples of
metallic foams prepared either by direct (a and b) or by indirect (c and d) foaming techniques [11]
the typical features of metals (ductility, weldability and electrical conductivity) making them fulfil structural and functional purposes, but also they have undergone an
enhancement
of
other
useful
characteristics. Lightweight, vibration and noise attenuation, low thermal conductivity and sound absorption are some of the Fig. 2.5: Representative examples of metal sponges prepared by different routes [12]
properties which have increased the value and application of this class of metals[10] (Fig. 2.7). Another beneficial architectural material, which engaged us personally, is clay. Its first outstanding feature lies in its
Fig. 2.6: Representative examples of nanoporous metals [13]
capability to work as a porous material in its raw state. In fact, at that stage clay, due to its porosity, is able to absorb water, becoming completely malleable and suitable to be freely modelled. Yet, clay, exposed to a firing process which
Fig. 2.7: Examples of application of porous aluminium [14]
heats the material up to temperatures above the values of dehydration (greater
[8] Kennedy, A., 1 February 2012. Materials thought leaders. [online]. Available from: https://www.azom.com/article. aspx?ArticleID=5940 [Accessed 19 April 2018] [9] Ibid [10] Ibid [11] Fig. 2.4 Representative examples of metallic foams prepared either by direct (a and b) or by indirect (c and d) foaming techniques [online]. Available from: http://pubs.rsc.org/en/Content/ArticleHtml/2015/MH/c4mh00244j [Accessed 18 April 2018] [12] Fig. 2.5 Representative examples of metal sponges prepared by different routes. Ibid [13] Fig. 2.6 Representative examples of nanoporous metals. Ibid [14] Fig. 2.7 Examples of application of porous aluminium. [online]. Available from: https://www.exxentis.com/ anwendungen/ [Accessed 19 April 2018]
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
than 1000° C), is subjected to permanent
out to be particularly debatable and
chemical alterations which bond the
controversial. What is porous architecture?
molecules tightly together, bestowing
Is it a conception pursued and applied
hardness and durability to the object and
only to the facades of a building, its
leading the material to lose completely its
external skin which loses materiality
porosity[15]. Due to these characteristics
acquiring transparency and fostering
fired clay is extremely versatile, finding
visual interaction between the inside
large application in all sectors in the
and the outside? Or does it involve the
building industry (Fig. 2.8) (Fig. 2.9).
spatial and functional arrangement of the volumes and the masses constituent in the
2.2 Porosity in architecture When the scale of porosity, as the subject
If we concurred with the latter, it would
of the current argument, becomes
be reasonable to provide as a suitable
the
deriving
example the theoretical and philosophical
interpretations and implications turn
fundaments of the modern architectural
Fig. 2.8: Examples of clay applications:
Fig. 2.9: Examples of usage of ceramics.
architectural
one,
the
bricks, floor tiles and roof tiles [16]
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building?
Lydia johnson ceramics[17]
[15] Woodford, C., 7 June 2018. Ceramics. [online]. Available from: https://www.explainthatstuff.com/ceramics.html [Accessed 6 July 2018] [16] Fig. 2.8 Examples of clay applications: bricks, floor tiles and roof tiles [online]. Available from: http://www.ugabox. com/business/directory/clay-products.html [Accessed 6 July 2018] [17] Fig. 2.9 Examples of usage of ceramics. Lydia johnson ceramics [online. Available from: http://e2.turningearth.uk/ lydia-johnson/ [Accessed 6 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
movement of De Stijl. Neoplasticism
dimensional elements which, at the same
architects,
Rietveld,
time, divide and interconnect spaces,
conceived architecture as a compound of
often in an adjustable way by using
straight partition walls whose assembly
movable walls[20], is strongly related to
could only occur perpendicularly[18] (Fig.
that definition of porous architecture.
2.10). The disposition of these diaphragms
Consequently, porosity is achieved here
should generate interpenetration between
by playing with the volumes and arranging
the internal and external environment,
the masses so as to create a flowing spatial
through the artificial masses continuing
interconnection.
such
as
Gerrit
beyond the limits of the interior space
Nevertheless, I strongly believe that,
[19]
(Fig. 2.11). Here the affinity with
in reality, the above questions were
the conception of porous architecture
incorrectly posed and another example
mentioned above is revealed. The idea of
is significant to elucidate the reasons and
decomposing the volume of a building
understand the real essence of porous
through horizontal and vertical two-
architecture.
Fig. 2.10: Example of perpendicularity of
Fig. 2.11: Model of Maison Particulière
plans in the neoplasticism architecture. Theo van Doesburg Contra-Construction Project (Axonometric) 1923 [21]
(Private House), Theo van Doesburg and Cornelis van Eesteren [22]
[18] Wikipedia, 22 April 2018. De Stijl. [online]. Available from: https://it.wikipedia.org/wiki/De_Stijl [Accessed 7 July 2018] [19] Ibid [20] Blogger. 2018. Storia dell’architettura moderna. De Stijl. [online]. Available from: http:// storiadellarchitetturamoderna.blogspot.com/2013/06/de-stijl.html [Accessed 7 July 2018] [21] Fig. 2.10 Example of perpendicularity of plans in the neoplasticism architecture. Theo van Doesburg ContraConstruction Project (Axonometric) 1923 [online] Available from: https://www.moma.org/collection/works/232 [Accessed 7 July 2018] [22] Fig. 2.11 Model of Maison Particulière (Private House), Theo van Doesburg and Cornelis van Eesteren. [online]. Availabe from: https://it.pinterest.com/zlatko928/620-bauhaus-de-stijl-neoplasticism/?lp=true [Accessed 7 July 2018]
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Fig. 2.12: Simmons Hall dormitory, MIT, Steven Holl Architects [26]
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The design of Simmons Hall, one of
permeability, to attain a series of favourable
the student residences at MIT, by Steven
effects both at the urban scale, through
Holl, is a symbolic demonstration of how
an improved visibility and accessibility,
the concept of porosity is borrowed by
and at the building scale, with a better
biology and chemistry and transposed in
light penetration and air circulation and
“a tectonic-urban context”[23] (Fig. 2.12).
communication between outside and
The characteristics of pores and porous
inside[25]. The tectonic actualization of
materials were exploited as tectonic
porosity was pursued, in the design
opportunities to originate a porous
process, in various ways and to different
architectural morphology. Holl, in one
degrees of permeability, despite obeying
of his public lectures, proposed: “What if
the common rule to guarantee as much
one aspect of a site – porosity – becomes
interaction as possible between exterior
a concept? Porosity can be a new type
and interior. Large mass-recessions were
of being...”[24]. The concept of porosity
designed as vertical porosity. Horizontally,
was part of a greater hypothesis of
the solution presented large protruding
[23] Kotsopoulos, S. D. 2007. Design Concepts in Architecture: The Porosity Paradigm. International Journal of architectural computing. [online]. 06(03), pp. 337-358. Available from https://www.researchgate.net/ publication/221467193_Design_Concepts_in_Architecture_the_Porosity_Paradigm? [Accessed 10 May 2018] [24] Ibid [25] Ibid [26] Fig. 2.12 Simmons Hall dormitory, MIT, Steven Holl Arhcitects [online]. Available from: http://arkitekt-ur.blogspot. com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 6 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
masses (Fig. 2.13) (Fig. 2.14). In the overall
were allocated to penetrate the building
picture, a multitude of windows of different
from bottom to top[27] (Fig. 2.17) (Fig. 2.18).
size was distributed on the facades (Fig.
It is evident, in this project, how porosity
2.15) (Fig. 2.16). Finally, freeform cavities
is envisioned in the entirety of the design.
Fig. 2.13: Study for the application of
horizontal and vertical porosity. Simmons Hall, MIT [28]
Fig. 2.15: Sketch for the porosity on
Fig. 2.14: Outcome of the vertical and
horizontal porosity design. Simmons Hall, MIT [29]
Fig. 2.16: Outcome of the porous facade
the facade. Simmons Hall, MIT [30]
through the multitute of windows. Simmons Hall, MIT [31]
Fig. 2.17: Sketch for the vertical
Fig. 2.18: Detail of the vertical porosity
cavities. Simmons Hall, MIT [32]
through the cavities. Simmons Hall, MIT [33]
[27] Kotsopoulos, S. D. 2007. Design Concepts in Architecture: The Porosity Paradigm. International Journal of architectural computing. [online]. 06(03), pp. 337-358. Available from https://www.researchgate.net/ publication/221467193_Design_Concepts_in_Architecture_the_Porosity_Paradigm? [Accessed 10 May 2018] [28] Fig. 2.13 Study for the application of horizontal and vertical porosity. Simmons Hall, MIT [online] Available from: https://www.e-architect.co.uk/boston/simmons-hall-boston [Accessed 12 May 2018] [29] Fig. 2.14 Outcome of the vertical and horizontal porosity design. Simmons Hall, MIT. Ibid [30] Fig. 2.15 Sketch for the porosity on the facade. Simmons Hall, MIT [online]. Available from: http://arkitekt-ur. blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 12 May 2018] [31] Fig. 2.16 Outcome of the porous facade through the multitute of windows. Simmons Hall, MIT. Ibid [32] Fig. 2.17 Sketch for the vertical cavities. Simmons Hall, MIT. Ibid [33] Fig. 2.18 Detail of the vertical porosity through the cavities. Simmons Hall, MIT. Ibid
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Neither a piercing process of the skin,
should promote public activities and give
nor creation of a flow of communicating
ground for mobility networks to link them
spaces. The ideal of porosity affects
to other areas of the city, but, at the same
architecture at all its levels. And beyond.
time, nurture the harmonic combination of
2.3 Porosity on an urban scale
private and public[35].
Bearing in mind Steven Holl’s designing
Nevertheless, the necessity of a porous
model, it is natural to acknowledge that
urban fabric is not only craved in those
architectural and urban scales, in regard to
cities characterised by a shortage of
the topic of porosity, are relatively linked.
regulation guiding the actual random
Undoubtedly, porosity in urbanism has
urban growth.
its own connotations. It is an issue which, especially in the last thirty years, has been highly debated, since its multiple implications
on
the
environmental,
political, economic and social spheres. If we think about the slum communities, in countries such as South-America or India, which host a rapid haphazard growth in
Fig. 2.19: Slum Housing in El Salvador [36]
population with no planned development, leading to a stack of buildings inhabited by squatters, an urgent necessity of porosity is evident[34](Fig. 2.19) (Fig. 2.20). The need of open spaces, with all essential amenities between these stacks, is urgent. They should serve as intermediate spaces with public features, but a private feel: they
17
Fig. 2.20: Favela housing in Rio de Janeiro. Picture by Paul Stallan [37]
[34] Jimenez, A., 3 June 2016. Visual Porosity and Scale: Architecture Thesis. [online]. Available from: https://issuu.com/ andresjimenez08/docs/thesis-v7-sm [Accessed 7 July 2018] [35] Stratis, S. 2012. Creating a porous urban connective tissue. [online]. Available from: http://admin.brainserver. net/uploads/aau/projects/ARTICLES/ARTICLES_BY_SOCRATES_STRATIS_/WelcomeBackToMyBackYard/ WelcomeBackInMyBackYard.pdf [Accessed 7 July 2017] [36] Fig. 2.19 Slum Housing in El Salvador. [online]. Available from https://www.povertyactionlab.org/evaluation/slumhousing-upgrading-el-salvador-mexico-and-uruguay [Accessed 7 July 2018] [37] Fig. 2.20 Favela housing in Rio de Janeiro. Picture by Paul Stallan [online]. Available from https://www.urbanrealm. com/blogs/index.php/2011/05/23/slum-jpg?blog=12 [Accessed 7 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 2.21: Sponge City, Peter Cook 1974[42]
and existing fabric, affecting positively the enclaves themselves and the territory beyond[39]. Fig. 2.22: Section of the Sponge City project, Peter Cook 1974 [43]
In Europe, the scattered urban voids enclosed
between
infrastructure
However, porosity on an urban scale could assume a different connotation for some others, such as Peter Cook,
of
who has profoundly engaged with the
transport and city development or situated
debate on landscape and architecture. His
in the outskirts between the agricultural
visionary and unconventional project of
land and the city centre necessitate an
Sponge City (1974) (Fig. 2.21) represents
implementation process of urban porosity.
a clear desire of urban porosity, with a
Those voids, acquire the functionality of
diverse intent[40]. He envisaged many
active voids[38]. They constitute potential
possibilities of buildings as landscape or
enclaves where to position public areas,
“enveloped by natural site coverage”[41]. He
services and flows playing the role of
forecasted cities absorbed by the natural
efficient interfaces between public space
environment (Fig. 2.22). He wrote: “... For
[38] Stratis, S. 2012. Creating a porous urban connective tissue. [online]. Available from: http://admin.brainserver. net/uploads/aau/projects/ARTICLES/ARTICLES_BY_SOCRATES_STRATIS_/WelcomeBackToMyBackYard/ WelcomeBackInMyBackYard.pdf [Accessed 7 July 2017] [39] Ibid [40] Wiley and Sons, J. Ltd. 2007. From Mound to Sponge. How Peter Cook Explores Landscape Buildings. [online]. Available from: https://onlinelibrary.wiley.com/doi/pdf/10.1002/ad.419 [Accessed 18 April 2018] [41] Ibid [42] Fig. 2.21 Sponge City, Peter Cook 1974. Wiley and Sons, J. Ltd. 2007. From Mound to Sponge. How Peter Cook Explores Landscape Buildings. [online]. Available from: https://onlinelibrary.wiley.com/doi/pdf/10.1002/ad.419 [Accessed 18 April 2018] [43] Fig. 2.22 Section of the Sponge City project, Peter Cook 1974. Ibid
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
me it becomes even more intriguing if we
material par excellence, through the
pull the vegetal towards the artificial and
middle one with the architectural proposal
the fertile towards the urban but in the end
of a porous wall (Fig. 2.23), to the largest
... to find the magic of a place discovered,
with the environmental, political and social
now that’s architecture�[44]. Thus, Peter
implications of our final proposal: the
Cook encouraged the idea of joining
porous skyscraper (Fig. 2.25). In addition,
together architecture and landscape
we further divided the middle scale into
in a united environment, suggesting a
multiple sub-levels as a result of the cross-
different conception of urban porosity, as
scale design development (Fig. 2.24). We
interpenetration between the natural and
designed and combined graded sizes
the artificial environment.
of our components, in order to enhance the aesthetic quality, fulfil functional
2.4 Scalability of our architectural proposal
necessities and optimise the different scale
After such an extensive discourse on
applications.
the different scales of porosity, a proper
Scalability has always been a key-word
conclusion should focus on understanding
of our design research. We pursued it in
which
multiple ways and with different strategies.
ones
our
design
research
encompasses.
Starting from the basic component, we
In reality, all of them. From the smallest
developed the language by designing
scale, by using the porous building
proportionally smaller components (a
Fig. 2.23: Porous wall. Architectural scale.
Fig. 2.24: Cross-scale design development
[44] Wiley and Sons, J. Ltd. 2007. From Mound to Sponge. How Peter Cook Explores Landscape Buildings. [online]. Available from: https://onlinelibrary.wiley.com/doi/pdf/10.1002/ad.419 [Accessed 18 April 2018]
19
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
quarter of the basic size), to be used for
proposal.
the blueprint of furniture, and bigger ones
Finally, scalability was relevant to the
(four times the basic size), to allow their
acknowledgment that we needed to draw
realistic usage as a screen in the skyscraper
upon two different fabrication techniques,
Fig. 2.25: The porous skyscraper 20
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
based on two distinctive architectural
scale, such as a pavilion, they can guarantee
applications. In fact, at a larger scale - the
structural stability, demanding their full
skyscraper -, our ceramic geometry can
solidity, though. They are able to behave as
only perform non-structural functions,
a self-supported brick wall, providing the
such as a shading system, hence requiring
benefits of a porous screen and dazzling
the components to be lighter, hollow
with their unique and harmonic aesthetic
internally and supported by an integrated
design (Fig. 2.27).
structure (Fig. 2.26). Instead, on a minor
Fig. 2.26: The metal frame as a support of the light clay shading system
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The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 2.27: Application of the structural solid components as a pavilion.
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The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
3
DIFFERENT LAYERS OF POROSITY
The topic of layers of porosity has
dynamic porosity language, occurring on
profoundly pervaded our project since
diverse levels and with distinctive features,
the very beginning of the study. The idea
displaying continuing transformations,
of using porous discrete components to
apparently random variations and illogical
design a continuously porous architectural
modifications, capable of captivating
mass, within which to conceive a variable
the observer in an exceptionally active
porosity in the overall shape, itself
experience. Nonetheless, it was meant to
manifests the existence of different layers
be a conscious dynamism, an apparently
of porosity. A first layer is inside each
random design always controlled and
modular component. A second layer is
managed by the logicality of mathematical
in the whole design of the architectural
formulas of parametric software.
proposal.
Going back to the two layers previously
Two levels of porosity: two different
described, it would be probably interesting
generating rules and two different
and meaningful (for a more appropriate
purposes, but working together for the
understanding of their characteristics)
same purpose. Which was: creating a
to introduce a parallelism with what, in 24
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
nature, a porous layered structure implies. A valid example which represents how multiple layers of material, in the same body, with various grades of porosity, contribute to the perfect execution of any activity, despite performing different functions is that of plant leaves. Should we want to analyse a leaf tissue structure, through a Scanning electron micrograph (SEM) it would be easy to recognise its subdivision in three different parts (Fig. 3.1) The external layer of cells is the epidermis[45]. This represents a nearly non-porous layer, as the epidermis is covered entirely, on its outer part, by a thin waterproof skin, the waxy cuticle, which prevents the loss of water and moisture. However, it holds a series of pores, called stomata, which are small openings controlling the inward and outward transition of gases (carbon dioxide, oxygen and water vapour)[46]. Below the epidermis
Fig. 3.1: Coloured scanning electron micrograph (SEM) of a leaf tissue structure[47]
is the palisade mesophyll, a low-porosity layer made of long column-like cells tightly packed together which, containing a large number of chloroplasts, permits the photosynthesis process by absorbing
[45] Gschmeissner Steve . 30 April 2013. Leaf Tissue Structure, Sem. [online]. Available from: https://fineartamerica.com/ featured/leaf-tissue-structure-sem-steve-gschmeissner.html [Accessed 18 June 2018] [46] Ibid [47] Fig. 3.1 Coloured scanning electron micrograph (SEM) of a leaf tissue structure. [online]. Available from: https:// fineartamwww/featured/leaf-tissue-structure-sem-steve-gschmeissner.html [Accessed 18 June 2018]
25
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
energy from sunlight[48]. The central part of
porosity which complement each other,
the leaf is the spongy mesophyll, formed
displaying not only an appealing but
of high-porosity layers with an open-pore
also perfectly integrated and operational
structure. These large interconnected
architectural chunk.
spaces between the cells allow the storage and exchange of gases, essential to the
3.1 The first layer
photosynthesis [49] (Fig. 3.2).
The first layer of porosity, as already
Likewise the three layers of the leaf, although
characterised
by
mentioned, is obtained in each module.
various
Primarily, the reason why we pursued
grades of porosity and different roles,
such a porous modular component was
work perfectly together to execute the
to guarantee an overall diffused porosity.
vital functions of the plant, our proposal
The idea was to create a continuously
is conceived of two layers of different
hollow architectural object, capable of
CUTICLE EPIDERMIS PALISADE MESOPHYLL SPONGY MESOPHYLL
Fig. 3.2: Different layers of a leaf tissue structure[50]
[48] Paet Joseph Martin. 11 December 2010. Plant tissues and organs. [online]. Available from: http://www.dictionary. com/browse/porosity [Accessed 18 June 2018] [49] Ibid [50] Fig. 3.2 Different layers of a leaf tissue structure. [online]. Available from: https: https://www.slideshare.net/j0martin/ plant-tissues-and-organs [Accessed 18 June 2018]
26
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
exploiting the multiple advantages of a
module. This will appear evident when
porous structure. Porous architecture,
illustrating the last stage of this specific
more exactly porous walls, represent the
design process.
wisest natural system to accomplish an
The first proposal of modular clay
ideal indoor microclimate and illumination
components derived from the awareness
(Fig. 3.3) and (Fig. 3.4). By manipulating the
of the geometric limits of the traditional
weave of porosity, it is possible to cool the
clay bricks. We wanted to attribute three-
temperature diversely and determine the
dimensions and enhance the aesthetic
amount of sunlight penetrating inside.
value of our basic geometry. For this
“Primarily” is used at the beginning of the
reason, inspired by the Rubik’s Cube
previous paragraph as it is undeniable that
puzzle, we explored the possibility to
it was an aesthetic factor in the reasoning
construct discrete components resulting
which led us to design such a porous clay
from the aggregation of multiple voxel
Fig. 3.3: Example of shadow in architectural patio[51]
Fig. 3.4: Effect of sunlight passing through a
porous wall. San Telmo Museum, San Sebastian, Nieto Sobejano Arquitectos[52]
27
[51] Fig. 3.3 Example of shadow in architectural patio. [online]. Available from: https://www.loverush.com.au/la-bellevie/ [Accessed 18 June 2018] [52] Fig. 3.4 Effect of sunlight passing through a porous wall. San Telmo Museum, San Sebastian, Nieto Sobejano Arquitectos. [online]. Available from: https://www.archdaily.com/208764/san-telmo-museum-nieto-sobejano-arquitectos [Accessed 18 June 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 3.5: Possibilities of components depending on the number of cubes aggregated
cubes (Fig. 3.5).
cube-module, was not effective at creating
Subsequently, when moving from basic
and controlling porosity. In order to be
discrete components - whose assembly
more efficient, we had to envision porosity
insured a certain level of porosity in the
within the module itself. For this reason,
overall design but without any rational
we dismissed the closed-cell-like polycube,
control - to a cubic modular component
the Soma Cube, and oriented our research
(Soma Cube), we faced the need of a new
towards a particular type of polycube
strategy. The logic of Soma Cube (Fig.
called Baiocchi figure, applied to Beszel
3.6), which entailed the use of a limited
Polycube. “A Baiocchi figure is a figure
number of the basic components and only
formed by joining copies of a polyform
in particular combinations so as to form a
and having the maximal symmetry for the
Fig. 3.6: One example of the solutions of Soma cube[53] [53] Fig. 3.6 One example of the solutions of Soma cube. [online]. Available from: https://en.wikipedia.org/wiki/Soma_ cube [Accessed 18 June 2018]
28
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
TRICUBES
TETRACUBES
PENTACUBES
HEXACUBES
Fig. 3.7: Examples of monocube, dicubes, tricubes, tetracubes, pentacubes and hexacubes for Baiocchi Figures.[54]
29
[54] Fig. 3.7 Examples of monocube, dicubes, tricubes, tetracubes, pentacubes and hexacubes for Baiocchi Figures. [online]. Available from: http://www.recmath.org/PolyCur/besbaiocchi/index.html [Accessed 14 February 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
polyform’s class. For polycubes, that means
inside but also along the edges and in
cubic symmetry”[55] and “a Besźel Polycube
the corners, since it was the only way to
is a polycube whose cells all have at least
achieve a clearly detectable and variable
two even coordinates.”[56] According to the
porosity in the aggregation of a multitude
definitions of these specific geometries, we
of modules. Having attained a reasonably
studied and developed the Baiocchi figures
satisfying result, we proceeded to apply
applied to Beszel Polycubes of orders 1 to 5
these modular geometries to different
(Monocube, Dicubes, Tricubes, Tetracubes,
languages of assembly, by testing and
Pentacubes, Hexacubes) (Fig. 3.7) so as to
comparing the outcomes of multiple
generate different modular components
scripts based on variable mathematical
and test various porosities. Not only did
assumptions (Fig. 3.8).
we try to void the cubic module from
At this point, we decided to implement
Fig. 3.8: Outcome of the combination of the first solutions of porous modules. [55] Sicherman George. 12 September 2017. Baiocchi Figures for Besźel Polycubes. [online]. Available from: http://www. recmath.org/PolyCur/besbaiocchi/index.html [Accessed 14 February 2018] [56] Ibid
30
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
the last step in the design of the first layer
marching cube logic, obtaining 256
of porosity. Particularly in this investigation
different configurations of the cube,
of a new porosity language, the aesthetical
since the 28 possible combinations of the
purpose/intent became evident.
curved corners[57] (Fig. 3.9). Subsequently,
We were looking for more complexity.
we applied the same marching cube
We wanted to explore more intricate
subtractive process to the porous polycubes
geometries. At first, we foresaw an
by removing the corner components
opportunity to create more geometric
correspondent to the hollowed rounded
dynamism by intersecting the straight
corners of the modular cubes (Fig. 3.10) (Fig.
cubic module with its antipodal geometry,
3.11). However, despite the marching cube
a sphere. The resulting volume consisted
algorithm rationalizing the displacement
of a cube with a concave rounded corner.
of the more articulate modules, according
We employed this rule following the
to a predesigned pattern, the overall
Fig. 3.9: Some of 256 configurations of the cubic module, obtained by
intersecting the cube with a sphere, following the marching cube logic.
31
[57] Bourke, P., May 1994. Polygonising a scalar field. [online]. Available from: http://paulbourke.net/geometry/ polygonise/ [Accessed 9 March 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 3.10: Application of the marching cube subtracting process to the polycubes.
COMPONENTS
ROTATE & COMBINE
POROSITY
COMPONENTS
ROTATE & COMBINE
POROSITY
+
+
-
+
-
+
+
-
+
-
+
+
-
+
-
+
+
-
+
-
Fig. 3.11: Application of the marching cube subtracting process to the polycubes.
32
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
configuration proved to be ineffective, particularly in terms of structural stability. For this reason, we changed strategy. Based
on
interesting
and
suitable
references – Frank Lloyd Wright, Ennis House and La Miniatura (Fig. 3.12) (Fig. 3.13) – we started drawing linear patterns travelling throughout the porous polycube module, from outside to in. The lines of the pattern represented the further emptiness
Fig. 3.12: Ennis House, Frank Lloyd Wright, Los Angeles, California[58]
to be built in the module, guidelines identifying the extra matter to be removed (Fig. 3.14). Drawing more and more lines, we were increasingly gutting and almost dematerialising the module. The goal was to generate articulate transparency by subtraction of matter which follows a carefully designed motive of lines. By doing this and after combining different outcomes (Fig. 3.15) we decided to take
Fig. 3.13: La Miniatura, Frank Lloyd Wright, Los Angeles, California[59]
this language to the extreme. Thus, the pattern, from guidelines for emptying the matter became the matter itself. The motive of lines defined the solid; all the rest within the module was excess, insignificant and so it was eliminated in order to generate
Fig. 3.14: Some examples of the module cut following the pattern of lines.
33
[58] Fig. 3.12 Ennis House, Frank Lloyd Wright, Los Angeles, California. [online]. Available from: https://whiteriver.com/ products/cube-paperweight-ennis-design-2-5-sq [Accessed 9 May 2018] [59] Fig. 3.13 La Miniatura, Frank Lloyd Wright, Los Angeles, California. [online]. Available from: http://www.sytyson.com/ storer-house-par-frank-lloyd-wright/ [Accessed 9 May 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 3.15: Two examples of combination of different modules cut according to the pattern of lines.
34
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
transparency and porosity. Hence, a new, totally revolutionised geometry. The final geometry. The final design of the first layer of porosity (Fig. 3.16) (Fig. 3.17).
BASIC MODULE
NEW PATTERN
BASIC MODULE WITH PATTERN
INCREASE OF POROSITY BY CUTTING MORE
Fig. 3.16: Final geometry
35
INSTABILITY OF COMPONENTS
ADD SUPPORTING COMPONENTS
THE PATTERN BECOMES THE GEOMETRY
OPTIMIZE THE STABILITY BY INCREASING THE TOUCHING SURFACES
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 3.17: Final geometry in the overal design
3.2 The second layer
architectural chunk. More exactly, a wall.
The second layer of porosity, as specified
Therefore, it regards the displacement
before, concerns the overall configuration
of voids throughout the wall, their
of our architectural proposal. It involves a
dimensions and forms.
bigger scale, represented by the assembly
At this stage, the designing process of
of the porous modules to generate our
the second level of porosity will not be 36
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
detailed, since it will be argued attentively and exhaustively in Chapter 5 of this report. However, all the premises which have led us to qualify this level with its own functions, scope and aesthetical peculiarities will be delineated, premises Cool air Warm air
which have also suggested resorting to different design strategies. A porous wall is beneficial for its capability to provide mild ventilation, naturally screen the indoor environment from solar radiation and, thus, reduce the temperature (Fig.
COOLING Light
3.18). Additionally, it would be a valid system to guarantee a certain grade of privacy and veil those inside from external sight, despite preserving the advantages of natural aeration. Yet, our porous wall is even more advantageous. It, solely, offers the opportunity to change and adjust itself depending on the specific requirements, thanks to the parametric
SUNLIGHT Fig. 3.18: The benefits of a porous wall
37
control of its design. By implementing different data entry in the script, in the form of algorithms or other mathematical formulas, we are able to decide frequency,
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
dimension and shape of the voids (Fig.
seasons, climate, location, height of the
3.19). We can distinguish high-porosity
floor and so on. Therefore, we can depict
areas from low-porosity ones and big-size
it as flexible porosity, which changes
pores from small ones, influenced by the
configuration and appearance depending
mutation of factors such as sun exposure,
on functional needs, but always maintains
Fig. 3.19: Variation of the second layer of porosity through the parametric control of its design
38
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
the beauty and the attractive aesthetic of a
between the porosity design of the module
harmonic combination of 3d modular clay
and its configuration throughout the wall.
components. Also, this balanced image is not only noticeable in the overall design of
3.3 Uniqueness of our design proposal
the second layer of porosity, but it is also
It could be countered that this kind of
intrinsic in the interaction between the
screen wall is already common in countries
large and the small scale, the whole porosity
which typically suffer from hot weather. For
and the single porous module, the second
instance, the traditional Islamic shading
and the first level. The osmosis thoughtfully
system called Mashrabiya performs all
designed and established between the
the services mentioned above (Fig. 3.21).
two layers of porosity represents the core
It has been used since the Middle Age
of the aesthetic fascination and attraction
and accurately designed to fulfil different
of our architectural proposal.
purposes: privacy, protection from the
Marine sponges are able to express such
summer sun, cool airflows, shelter from
an organic perfection of beauty thanks to
sun and rain for people in the street and
their graded porous microstructure[60](Fig.
correction of the footprint form of the
3.20). Likewise, the attractive beauty of
land[61]. Nevertheless, contrary to the
our design could not be achieved without
two-dimensional wooden lattice of the
the perfect equilibrium and integration
Arabic screen, our porous wall fulfils the
Fig. 3.20: Example of marine sponges: Phylum Porifera[62]
39
[60] Slideshare, 15 March 2009. Poriferappt. [online]. Available from: https://www.slideshare.net/guest0e117cf/ poriferappt [Accessed 9 July 2018] [61] Wikipedia, 11 June 2018. Mashrabiya, [online]. Available from: https://en.wikipedia.org/wiki/Mashrabiya#Utilisation [Accessed 14 May 2018] [62] Fig. 3.20 Example of marine sponges. [online]. Available from: https://thephylumporiferaproject.wikispaces.com/ Callyspongia+plicifera [Accessed 8 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 3.21: Examples of Mashrabiya serving as ventilation and protection for buildings[63]
[63] Fig. 3.21 Examples of Mashrabiya serving as ventilation and protection for buildings. [online]. Available from: https://www.hommeg.com/moucharabieh-all-on-the-art-and-deco-piece-very-trendy [Accessed 4 July 2018]
40
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Fig. 3.24: King Fahad National Library, Saudi Arabia, Gerber Architekten[66]
Fig. 3.22: Al Bahar Towers,
Abu Dhabi, Aedas Architects[64]
41
Fig. 3.23: Larchmont Lotus Building, Los Angeles, XP& Architecture[65]
Fig. 3.25: Casa Walther Moreira Salles, Rio de Janeiro, Olavo Redig de Campos[67]
same functions being qualified by a three-
Architecture (Fig. 3.24); Casa Walther
dimensional structural body, though.
Moreira Salles in Rio de Janeiro, by Olavo
It could also be opposed that, in reality,
Redig de Campos (Fig. 3.25); and so forth.
three-dimensional shading screens are,
However, they all delineate a display of
nowadays, widely used. This is true. A
modern shading facades where porosity
plethora of examples could be pointed
is
out: Al Bahar Towers in Abu Dhabi, by
hybrid systems – a combination of soft
Aedas Architects (Fig. 3.22); King Fahad
material such as fabric and supporting
National Library in Riyadh Saudi Arabia, by
metal substructure – by organically-
Gerber Architekten (Fig. 3.23); Larchmont
shaped discrete metal components or by
Lotus Building in Los Angeles, by XP&
geometrically convoluted but repetitive
attained
either
by
sophisticated
[64] Fig. 3.22 Al Bahar Towers, Abu Dhabi, Aedas Architects. [online]. Available from: m/270592/al-bahar-towersresponsive-facade-aedascom/moucharabieh-all-on-the-art-and-deco-piece-very-trendy [Accessed 4 July 2018] [65] Fig. 3.23 Larchmont Lotus Building, Los Angeles, XP& Architecture. [online]. Available from: https://archinect. com/firms/project/17201981/larchmond-lotus-xp-architecture-designs-a-climate-regulating-self-cleaning-and-imageimproving-new-envelope-for-the-larchmont-medical-center-in-los-angeles/17201983 [Accessed 4 July 2018] [66] Fig. 3.24 King Fahad National Library, Saudi Arabia, Gerber Architekten. [online]. Available from: https://it.pinterest. com/pin/489766528198435415/?lp=true [Accessed 4 July 2018] [67] Fig. 3.25 Casa Walther Moreira Salles, Rio de Janeiro, Olavo Redig de Campos. [online]. Available from: https:// belblasiarquitetura.wordpress.com/tag/arquitetura/ [Accessed 4 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
concrete modules. They are unable to amaze with the depth of a threedimensional structure, ensure solar control and light transmission performances and, at the same time, provide the advantageous benefits which only clay can offer. Clay is worldwide, cheap, easily accessible, natural, strong, highly fireproof, and absolutely sustainable, not only as the material itself but also in its manufacturing procedures. Even though there are examples of clay screen usage, for instance the Termitary House in Thanh KhĂŞ District, Vietnam, by Tropical Space (Fig. 3.26), they are the result of a different and creative assembly of traditional brick masonry, which simply increases the distance between the bricks to generate voids. Hence, the exceptionality and innovation of our proposal undeniably emerges. It assures internal thermal and visual comfort, minimizing costs and energy consumption due to the intrinsic properties of clay, and never sacrifices the geometrical exploration and design creativity underpinning the pursuit of seductive aesthetic quality.
Fig. 3.26: Termitary House, Thanh Khe District, Vietnam, Tropical Space[68]
[68] Fig. 3.26 Termitary House, Thanh Khe District, Vietnam, Tropical Space. [online]. Available from: https://www. archdaily.com/594339/termitary-house-tropical-space [Accessed 4 July 2018]
42
43
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
4
POROSITY IN A DUALISM OF SPACE AND MATTER
The definition of the word porosity, as
infinite, yes and no, outside and inside,
found in most dictionaries and scientific
being and non-being, and so on. Would,
books, contains a highly-problematic
then, our idea of porosity be ascribable in
controversy: “the ratio, expressed as a
such a philosophical speculation, evoking
percentage, of the volume of the pores
the same bipolarity between emptiness
or interstices of a substance, as a rock or
and substance? Besides, does the dialectic
rock stratum, to the total volume of the
of emptiness and fullness correspond
mass”[69]. As the ratio of the volume of
to the antithesis of space and matter? Is
the space to the volume of the mass, the
it reasonable to identify the ontological
concept of porosity suggests a comparison
conception of space with the idea of
between the void, the interstices between
absence and void, and the expression
the particles of material, and the solid,
of matter with the substance filling that
its mass. Duality of void and fullness has
emptiness?
always been one of the most debated
In order to elucidate and respond to the
arguments in architecture, very often
raised questions, in the first place I would
related to the dialectics of finite and
make reference to the notion of emptiness
[69] Houghton Mifflin Harcourt Publishing Company. 2011. Etymology and definition of the word porosity. [online]. Available from: http://www.dictionary.com/browse/porosity [Accessed 26 April 2018].
44
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
45
conceived by Taoism and the Chinese
it limits, as it is not a subsisting being
cosmology. In the beginning, the original
itself but it is the condition determining
essence of the cosmos was tàixū (太虛),
being. Hence, space and matter are in
the Great Emptiness, also called wújìn (
a relation of mutual implication[74]. Yet,
无尽), the Endless[70]. This non-existence
what is more interesting, and radically
originated universe and life in it. In all
significant
Chinese culture, the emptiness is, then, the
communication of our design proposal, is
essential condition for the manifestation
the differentiation delineated by Aristotle
and transformation of being[71]. Not only
between space and form, as both limits of
is this true in physics and medicine, but
the being[75]. In primis, limit is what makes
also in the Chinese arts. For instance, in
the appearance and the discernment
painting, it is often the unpainted parts
(διαίρεσις) of being possible.
that prevail over the painted ones, as if
However, διαίρεσις is not
to say it is the emptiness to determine
sufficient for being to be, since its substance
the fullness[72]. Therefore, in the Chinese
is due to είδος, form, which is a
culture the void as non-existence is the
necessary condition. Form and space are
root and the cause of being.
both limits (πέρατα): form is the limit
for
the
cognizance
and
Although denying the existence of
of the being (πράγμα), space is the
emptiness, since it would make the
limit of the entity embracing the being
movement of bodies impossible, Aristotle,
(σώμα)[76]. Therefore, we can conclude
in book IV of Physics[73], conceives space in
that if the limit of a body is its shape, space,
the same causal role as Taoism interprets
as also a limit, is the shape of the being
the void. Space is what contains all things.
which embraces that body. Essentially, it is
It is limit and determiner of each thing.
the shape of the void embracing the body.
However, contrary to the essentiality and
Such a definition suggests that space
unavoidability of the Great Emptiness,
constitutes the tangible and perceivable
space cannot exist without the body which
distinction of bodies. Through space the
[70] Sotte, L., Minelli, E., Giovanardi, C. M., Matrà, A., and Schiantarelli, C., (2006), Fondamenti di Agopuntura e Medicina Cinese, Milano: CEA. [71] Ibid [72] Ibid [73] Ackrill, J. L., and Judson, L., (1993), Aristotle Physics: books III and IV, Oxford: Clarendon Press. [74] Ibid [75] Ibid [76] Ibid
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 4.1: Untitled (One Hundred Spaces) 1995 by Rachel Whiteread[78]
Fig. 4.2: Untitled (Book Corridors) 1998 by Rachel Whiteread[79]
being is determined in its unique, actual and
artworks, space does not only represent
concrete presence. Consequently, could
the medium to shape and give consistency
we assert that the Aristotelian theories
to objects. The concept of qualitative
represent the philosophic fundament
experience of space is here emphasised to
of the qualitative experience of space?
its extreme, almost obsessive, expression.
Could we actually believe in a qualitative
Space becomes an object itself, acquiring
characterisation and differentiation of
those characteristics of aesthetic, visibility
space? Would it be realistic to debate the
and materiality typical of matter (Fig. 4.1).
aesthetic, visual and tangible features of
Rachel Whiteread “makes the invisible
space?
visible”[77], by casting the negative space,
Undoubtedly, it would be if we looked at Rachel Whiteread’s work. In her cast
the space in-between and around things (Fig. 4.2).
[77] Whiteread Rachel. 2017. Exhibition at Tate Britain [online]. Available from: http://www.tate.org.uk/art/artists/rachelwhiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018] [78] Fig. 4.1 Untitled (One Hundred Spaces) 1995 by Rachel Whiteread. [online]. Available from: http://www.artzip.org/ rachel-whiteread [Accessed 24 May 2018] [79] Fig. 4.2 Untitled (Book Corridors) 1998 by Rachel Whiteread. [online]. Available from: http://www.tate.org.uk/art/ artists/rachel-whiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018]
46
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
What we see and perceive is no longer
(Fig. 4.3), with the stairs leading nowhere,
the objects occupying the space but,
evokes, almost with the same restlessness,
instead, the space occupied and shaped
the oneiric vision of Escher (Fig. 4.4) and
by the objects. “It’s the invisible spaces
Piranesi (Fig. 4.5) of impossible objects,
around us that Whiteread has turned our
allegorising the illusion of trapped and
focus to.”[80]It is the modelled space to
unattainable dreams. The glass cast of
inspire emotions and address stories[81].
a doll’s house fulfils a childhood fantasy,
The white plaster Untitled (Stairs), (2001)
allowing the viewers to release their
Fig. 4.3: Untitled (Stairs), 2001 by Rachel
Fig. 4.4: Relativity, 1953, by Maurits Cornelis
Fig. 4.5: The Prisons, 1750, Giovanni Battista
Fig. 4.6: Ghost II, 2009 by Rachel
Whiteread.[82]
Piranesi[84]
imagination thanks to a journey of the
47
Escher[83]
Whiteread[85]
If we wanted to relate the artistic
sight which moves along the corridors
abstraction of the vision of Rachel
and penetrates through the walls into
Whiteread to our architectural proposal
chambers, despite the doors being closed
the following question would arise
(Fig. 4.6).
naturally: is the porosity of our wall meant
[80] Whiteread Rachel. 2017. Exhibition at Tate Britain [online]. Available from: http://www.tate.org.uk/art/artists/rachelwhiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018] [81] Ibid [82] Fig. 4.3 Untitled (Stairs), 2001 by Rachel Whiteread. [online]. Available from: http://www.tate.org.uk/art/artists/ rachel-whiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018] [83] Fig. 4.4 Relativity, 1953, by Maurits Cornelis Escher. [online]. Available at: http://artattack911.com/mc-escher-mindbending-art-bay-area-and-peninsula-art-classes-for-all-ages/ [Accessed 24 May 2018] [84] Fig. 4.5 The Prisons, 1750, Giovanni Battista Piranesi. [online]. Available at: https://en.wikipedia.org/wiki/Giovanni_ Battista_Piranesi#The_Prisons_(Carceri) [Accessed 24 May 2018] [85] Fig. 4.6 Ghost II, 2009 by Rachel Whiteread. [online]. Available from: http://www.artzip.org/rachel-whiteread [Accessed 24 May 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
to be considered as material substance
Leibniz, and Locke, that a new direction
pierced with voids of different size or
in the investigation into the notion of
utter pure space determined and shaped
space started taking shape, giving more
by geometrical extension of matter?
prominence to the subjective sphere[88].
According to the new theories of space of
However, only George Berkeley radicalised
Albert Einstein, the latter seems to be the
the new way of thinking, asserting that the
most appropriate standpoint. In his General
perception of space is impossible without
theory of relativity (1915), he developed a
a series of visual and tactile impressions,
new theory of the physical space based on
such as colours and figures, which are
the notion of “spacetime”[86], namely an
totally subjective[89]. These impressions
“elastic space” which, like an elastic fabric,
abstract from the mind to create an idea
transforms depending on the variation of
of space which, not necessarily, reflects
the presence of matter in it[87].
the external reality. It is an interiorised
Even though Einstein’s theory of the elastic space pertains more to cosmological
and personalised idea and perception of space[90].
and physical studies, it reveals itself
This means that, regardless of any
extremely meaningful and persuasive
acceptable ontological definition and
for the architectural comprehension and
conception of space, there is always a
expression of space. It is a vision exquisitely
sensorial and subjective component which,
poetic, yet very actual, conceiving space
depending on the individual background,
as a malleable reality, which changes its
experiences, temporary disposition and
manifestation and perception according
forma mentis of the observer, will affect
to the presence and changing of any
the perception of space differently, the
substance in it.
substance in it and their interaction.
These considerations seem to suggest
This radical and modern viewpoint creates
a rather gnoseological and psychological
a link between a purely philosophical and
interpretation of space. It was with
a more aptly architectural understanding
[86] Gron, O., Hervik, S., (2007) Einstein’s General theory of Relativity, New York: Springer. [87] Ibid [88] Treccani. 2009. Spazio, dizionario di filosofia. [online]. Available from: http://www.treccani.it/enciclopedia/ spazio_%28Dizionario-di-filosofia%29/ [Accessed 17 May 2018] [89] Ibid [90] Ibid
48
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
of space. It helps reconnect such a
is caused by a general inability of thinking
philosophical and ontological speculation
and understanding architecture in terms
on it with our design research.
of space. Such an ineptitude concerning
In fact, the void is the primordial
space probably derives from the means
archetype of architecture. It is the essence
of representation of architecture itself:
of architecture, the basis from which
plans, sections and elevations are, for
it is originated[91]. It is space inside the
architects, the instruments to represent
architectural composition of volumes; it is
the architectural volume of buildings.[95]
path and itinerary inside it; it is core in the
And it is undeniable that our judgement of
architecture of the shell.
a building which we have not experienced
Bruno Zevi in his book Architecture
as
as
by the more or less appealing aspect of
architecture”.[92]
those representations. However, even
“Architecture, however, does not consist
though a plan or a façade may seem
in the sum of the width, length and height
well-proportioned
of the structural elements which enclose
paper, the building might prove to be
space, but in the void itself, the enclosed
mediocre architecture since the space in
space in which man lives and moves.”[93]
it turns out to be petty and unpleasant.[96]
And again, “The façade and walls of
According to Zevi, beautiful architecture
a house, church or palace, no matter
is “architecture in which the interior space
how beautiful they may be, are only the
attract us, elevates us and dominates us
container, the box formed by the walls;
spiritually”.[97] Beautiful architecture is
the content is the internal space.”[94] Zevi
architecture that not only dazzles with the
complains of the lack of a correct history
attractiveness of its volumes, geometries
of architecture due to an incoherent
and materials but also captivates us with
approach which historians have used to
the perception of the space shaped by
study and analyse buildings. This failure
those volumes. The equilibrium generated
“the
49
space
(1957)
protagonist
defines of
space
personally is unconsciously conditioned
and
attractive
[91] Scarpato, L., (2010/2011). Nulla è vuoto. Costruire intorno al vuoto: un’analisi critica dell’archetipo primordiale dell’architettura. Unpublished Master’s degree thesis, Politecnico di Milano. [92] Zevi, B., (1957) Architecture as space, New York: Horizon Press. [93] Ibid [94] Ibid [95] Ibid [96] Ibid [97] Ibid
on
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
by the perfect relation between matter and
a juxtaposition of closed parts. It endorses
space, which together, encompasses man
the opposite idea: modelling voids,
in a four-dimensional experience which
according to a principle of subtracting
is distinctive and unique to architecture.
matter.[98] They recognise in the negative
Architecture needs to be gone through,
space, what follows from the compound
perceived and lived. For this reason,
of the masses, the substantial aim and
we need to learn how to grasp space in
the intrinsic meaning of the designing
architecture and understand it, because
process. In their Alenquer House (2002),
this understanding is the crucial element
Portugal, the core of the project lies on a
to produce a valid and truthful criticism of
labyrinthine continuum of voids unfolding
architecture.
between the prior perimeter wall and the
Among the contemporary architectural
new internal residential nucleus[99] (Fig.
practices, Aires Mateus’ works seem to
4.7). Furthermore, the astonishing spatial
materialise the guidance expressed by
emotion emanating from the paths and the
Zevi the most and transpose the artistic
lines of sight through slender diaphragms
representations of Whiteread to the
and openings turning towards the outside
architectural field. Their designing process
(Fig. 4.8) is revealed in its authentic
declines the conception of architecture as
essence by the reflection and diffusion of
Fig. 4.7: Alenquer House, Portugal, Aires
Fig. 4.8: Alenquer House, Portugal, Aires
Mateus. View of the openings toward the outside[100]
Mateus. Plan and an internal perspective view[101]
[98] Mandolesi, D. 2015. Architetture di Aires Mateus. Tra tensione poetica e rigore formale. Rassegna di architettura e urbanistica, Anno L(147), pp. 93-97 [99] Ibid [100] Fig. 4.7 Alenquer House, Portugal, Aires Mateus. View of the openings toward the outside. [online]. Available from: http://arquitecturadesignetc.blogspot.com/2011/10/manuel-e-francisco-aires-mateus-casa-em.html [Accessed 5 July 2018] [101] Fig. 4.8 Alenquer House, Portugal, Aires Mateus. Plan and an internal perspective view. [online]. Available from: http://twobo.blogspot.com/2010/ [Accessed 5 July 2018]
50
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
the light on the pure white surfaces.[102]
from some mysterious opening to tell us
(Fig. 4.9) It is a new idea of architecture:
how dark it really is. Each space must be
no longer “the learned game, correct and
defined by its structure and the character
magnificent, of forms assembled in the
of its natural light.”[106] Therefore, Kahn
light”[103] as envisioned by Le Corbusier,
virtually identifies the two entities of
but the meditated creation of spaces and
space and light. Light reveals and defines
their relations, unveiled by the light, as
space; it enters into a space through non-
proclaimed by Louis Kahn[104]. He stated
matter that is the void present in the
that space, in architecture, does not exist
solid walls enclosing that space. Thus, the
without natural light[105]. “A plan of a
surrounding wall is the creator of space:
building should be read like a harmony
it, with its openings, lets light through
of spaces in light. Even a space intended
determining space[107].
to be dark should have just enough light
This vision is extremely purposeful to
Fig. 4.9: Alenquer House, Portugal, Aires Mateus. View of the diffusion of light on the white volumes[108]
51
[102] Mandolesi, D. 2015. Architetture di Aires Mateus. Tra tensione poetica e rigore formale. Rassegna di architettura e urbanistica, Anno L(147), pp. 93-97 [103] Etchells, F., (1970) Towards a new architecture, London: The Architectural Press. [104] Norberg-Schulz, C., (1981) Louis I. Kahn: idea e imagen, Madrid: Xarait Ediciones. [105] Ibid [106] Ibid [107] Ibid [108] Fig. 4.9 Alenquer House, Portugal, Aires Mateus. View of the diffusion of light on the white volumes. [online]. Available from: http://twobo.blogspot.com/2010/ [Accessed 5 July 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
support and value the theoretical and
geometrical substance within. It is an
philosophical fundament underpinning
expression of a dialogue between the
our design proposal. Porosity becomes
physical object and the space outside
not only a functional premise, but also a
and inside it, where the object penetrates
philosophical language aimed at defining
the surrounding environment and the
space and giving it character and vitality.
environment
permeates
the
object,
Hence, when we asked ourselves:
and, finally, the observer becomes an
is our research of porosity a desire of
integral part of such a harmonious and
emptiness and space as the protagonist of
extraordinary discourse.
architecture, or pursuit of the equilibrium
In conclusion, our design research was
of forms expressed through matter and
not focused on establishing the most
afterwards lightened by the voids? The
appealing configuration of the voids and
answer was: none of them. We aimed
porosity pattern. Above all else, it aspired
at creating an interactive architectural
to offer a unique space-time experience
proposal, where space and matter converse
where the design becomes only the
with each other. Much as in Aires Mateus’
prompt of a transcendental perception
architecture, in our project the voids, both
and metaphysical imagination which
shaded and illuminated cavities, model a
enables the spectator to go beyond the
dynamic and multi-directional space and
limits of the visible and palpable reality.
matter, able to captivate and involve the observer. Our wall does not only want to be the tangible display of an architectural language intended to demonstrate the multiple advantages of porosity. And even less, it means to be mere a contemplation of a combination of material technology and aesthetic language. Primarily, our architectural chunk wants to actualise a physical, visual and emotional relation with a space constituting unity with the 52
53
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
5
POROSITY AS A PROCESS
In the same way the question of whether
really and necessarily dependant on the
our
be
ontological determination of the idea of
interpreted as exaltation of space or search
porosity? Instinctively, the answer to the
of lightened materiality, another argument,
last question would be no, if we wanted to
immediately consequent to the first one, is
conform to the statement made in the last
posed: what is the process generating such
two paragraphs of the previous Chapter. In
a porosity configuration? Is it a growing
actual fact, the design process inevitably
process, an addition of geometric elements,
raised those questions, posing the issue
in accordance with the idea of porosity as
of the type of operations and techniques
a balanced disposition of forms which,
to follow in order to attain our desired
occasionally, break their contiguity with
outcome.
design
of
porosity
should
predetermined voids? Is it a subtracting
I will try to argue the introduced topic
procedure, where what is designed is
and
provide
the voids, the emptiness, achieved by a
by
gradual removal of insignificant matter?
methodologies employed during the
Or is it predetermined pattern, which
“challenge of designing porosity�, with all
could change by varying the originating
their implications and connections with
factors? Are those types of methods
other disciplines.
illustrating
plausible the
explanations
approaches
and
54
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Although appearing a theoretical and
according to the typology of pre-set
quite abstract matter, it transpired to be
inputs and constraints. Hence, the use of
pervaded by scientific and mathematical
Grasshopper, a plug-in of Rhinoceros, has
problematics. In fact, the purpose of our
been of great significance in executing this
research is not simply “designing porosity�,
kind of research.
but rather pursuing strategies able to guarantee parametric control of the
5.1 Porosity as act of adding
design. This represents the opportunity
The initial attempt to construct a
to
configuration
parametric porosity language involved
indefinitely, continually ensuring the
the first solution of a component we
rationality, correctness and feasibility of
proposed for what was defined in Chapter
it. More technically, this means allowing
3 as the first layer of porosity. Our primary
innumerable chances of variation of each
modular geometry consisted of basic
single parameter, which can possibly
discrete components derived from the
be combined with likewise mutations of
aggregation of two or more voxel cubes
all other variable parameters in a given
(Fig. 5.1). Based on this, the strategies to
mathematical expression.
develop a rational design of porosity were
vary
the
design
To translate this notion into a real project
rather limited. The discrete geometries
we had to draw upon specific software able
were only suitable for an assembly process
to identify, develop and solve appropriate
with the features of a random growth. We
mathematical formulas or algorithms,
elaborated a script where the originating
Fig. 5.1: Basic discrete components derived from the aggregation of voxel cubes
55
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
point was represented by a predefined
allowed the rotation of the geometries of
set of starting geometries. More exactly,
90° , 180° , 360°in X, Y, Z directions so as to
six different discrete components derived
create dynamism in the growth. Secondly,
from the Rubik’s Cube puzzle. The function
we needed to define a rule of overlap
of the script was to build a growing process
ensuring the stability of the process. This
by overlapping alternatively and randomly
rule established that the growth occurs
the six basic components. However, in
by overlapping the components vertically,
order to guarantee rationality, stability and
with at least one entire face leaning against
manageability of growth, it was essential
the top surface of the underlying element
to input variable parameters, in the form
(Fig. 5.2). Finally, based upon a stability
of mathematical functions, as binding
criterion, the script should have selected,
and guiding assumptions. First of all, we
from time to time, the most suitable
LOGIC OF GROWTH
CHANGING PARAMETERS
SCRIPT
Fig. 5.2: Rules and changing parameters of the first script to guarantee at least one face overlapping the top surface of the underlying component
56
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
component and rotation (Fig. 5.3). Since the first trial presumed a random
yet and, on account of this, was not able to reach any appealing and reasonable result.
growth starting from one point - one component - resulting in a mediocre
5.2 Porosity as act of subtracting
column-like overall shape, we modified the
Not only did we need to rationalise the
script to recognise multiple components
process but also optimise the component
as starting points, variably displaced. The
itself. For this reason, we reoriented the
outcome was, apparently, a satisfying
strategy toward a cubic modular system,
organically-shaped porous wall, but, in
abandoning the discrete component
actual fact, it was composed of a series of
approach. Working with a cube module
separated and non-integrated multiple
meant drawing upon a 3d rectangular
columns of overlapping components (Fig.
grid as an invaluable method to control the
5.4).
directionality of growth. That also entailed
Clearly, the design was not under control
the necessity of figuring and designing
Fig. 5.3: Outcome of the first script based on the overlapping of components from one point 57
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 5.4: Outcome of the first script based on the overlapping of components from multiple points
58
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
porosity within the cube itself. Hence, the
permitting multiple rotations, in order to
second stages of the first layer of porosity
perceive more variability, and ensuring an
design took place, leading to a completely
adequate percentage of touching surfaces,
innovated configuration of our cubic
for the structural stability (Fig. 5.5) (Fig.
module (refer to Chapter 3). The new script,
5.6). Secondly, it generated porosity as a
devised ad hoc for the redesigned porous
subtracting process by gradually removing
modules, firstly guided the positioning
single components from the filled grid.
of the modules into the 3d grid, still
This subtraction method was developed
STARTING GEOMETRY
LOGIC OF GROWTH
Fig. 5.5: Logic of growth of the new modular geometry for the randome reduce script STARTING GEOMETRY
LOGIC OF GROWTH
Fig. 5.6: Logic of growth of the new modular geometry for the shortest walk script 59
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
to occur in two different ways. In one case,
shortest walk, along which to operate the
it implied a simple random reduce, letting
reduction of the elements. In this specific
the script randomly select the components
case, the act of subtracting should interest
to be deleted (Fig. 5.7) (Fig. 5.8). In the
only the components further from the
other, we figured a series of paths, called
shortest walk, avoiding the ones along and
LOGIC OF SUBTRACTION
CHANGING PARAMETERS
SCRIPT
Fig. 5.7: Changing parameter and logic of subtraction in the random reduce script
Fig. 5.8: Randome reduce outcome 60
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
close to the paths (Fig. 5.9) (Fig. 5.10).
through
Despite the improvement accomplished LOGIC OF SUBTRACTION
this
second
attempt,
designing process proved to be still too CHANGING PARAMETERS
SCRIPT
Fig. 5.9: Changing parameter and logic of subtraction in the shortest walk script
61
Fig. 5.10: Shortest walk outcome
the
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
random, with an aesthetical outcome
algorithm which allowed us to not only
somewhat repetitive and flat. In reality, our
design more complex porosity within
design research was aimed at achieving
each module - 256 variations (refer to
the opposite result: creating a highly
Chapter 3) -, but also to follow specific
changeable configuration of porosity,
arrangements of the modules, based on
which apparently seems random in its
predefined patterns, through the control
variability and dynamism, but, in fact, is
of their vertices. The pattern was designed
completely under the control of parametric
using Curl-noise, a specific function of
means.
Grasshopper, and represented as surfaces within a rectangular grid of points.
5.3 Porosity as pattern Therefore,
the
awareness
Depending on whether the points of the of
the
grid were outside or inside those surfaces,
necessity for a different strategy became
the Marching Cube algorithm was able to
determinant. We demanded full control
identify the corresponding marching cube
and to be able to decide and vary the
module for each cell of the grid and place
position of the modules and the voids in
it appropriately (Fig. 5.11) (Fig. 5.12).
the wall, depending on external functional or aesthetic factors.
The outcomes of the new strategy proved to be pleasingly satisfying (Fig.
The only way to guarantee such a
5.13), although some issues seemed
manipulating role was to design and
to be still unsolved. Issues relating to
predetermine a pattern of the overall
the control of the boundaries and the
porosity configuration and make the
structural performance of the overall
modules follow it. However, we had
proposal. In-fact Curl-noise was unable to
to ensure this interconnectivity and
recognise the edges of the wall, causing
dependence of the position of the
discontinuity along the boundaries and
modules on the pattern for all the infinite
structural instability of the surrounding
variations of the pattern itself. For this
parts of the wall (Fig. 5.14). These concerns
reason, we drew upon the Marching Cube
established the final step of this design
62
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
CHANGING PARAMETERS
SCRIPT
Fig. 5.11: Changing parameter and Marching Cube script
Fig. 5.12: Process of defining porosity configuration from the pattern generated by Curlnoise
63
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Fig. 5.13: Proposal deriving from the Marching Cube script
research, connoted by the use of the
longer Curl-noise; instead, Voronoi. The
Voronoi diagram.
Voronoi Diagram is a mathematical formula
The ideation of a pattern for the porosity
which divides the space into regions
configuration was still a fundamental
depending on the distance between all
prerequisite. What changed was the
points of that space and a set of specific
parametric function generating it: no
and predetermined points, called seed[109].
Fig. 5.14: Different control of the boundaries between Curl-noise (left) and Voronoi (right) [109] Wikipedia. 4 July 2018. Voronoi diagram, [online]. Available from: https://en.wikipedia.org/wiki/Voronoi_diagram [Accessed 8 July 2018]
64
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Therefore, each region is composed of all the points of the space closest to the specific point of the seed present in that region (Fig. 5.15). Nowadays, the Voronoi diagram is broadly used in architecture and urban design, as it contributes to achieving more organic forms and naturallooking patterns[110] (Fig. 5.16) (Fig. 5.17). The same contribution was also provided to our design. By defining a bounding box (corresponding to the volume of the wall), a seed of points and converting the boundary lines of the formed regions, resulting from the Voronoi partitioning, into
three-dimensional
meshes,
Fig. 5.15: Examples of Voronoi diagrams[111]
the
achievement of dynamic and organic
Fig. 5.16: National Kaohsiung Performing Arts Center, Zaha Hadid proposal[112]
Fig. 5.17: Water Cube for Beijing 2008 Olympic Games by PTW Architects[113]
[110] Sahin, A. 5 July 2017. Examining the use of voronoi diagrams in architecture on a student project. [online]. Available from: https://www.researchgate.net/publication/318208318_EXAMINING_THE_USE_OF_VORONOI_ DIAGRAMS_IN_ARCHITECTURE_ON_A_STUDENT_PROJECT [Accessed 8 July 2018] [111] Fig. 5.15 Examples of Voronoi diagrams. [online]. Available from: https://github.com/d3/d3-voronoi [Accessed 9 July 2018] [112] Fig. 5.16 National Kaohsiung Performing Arts Center, Zaha Hadid proposal. [online]. Available from: https://www. researchgate.net/publication/318208318_EXAMINING_THE_USE_OF_VORONOI_DIAGRAMS_IN_ARCHITECTURE_ON_A_ STUDENT_PROJECT [Accessed 8 July 2018] [113] Fig. 5.17 Water Cube for Beijing 2008 Olympic Games by PTW Architects. Ibid
65
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
porosity
configurations
was
finally
tangible (Fig. 5.18) (Fig. 5.20). Moreover,
borderline arrangements along the edges or structural uncertainties (Fig. 5.19).
we attained utter control of the direction
Regardless of the technical implications
and evolution of the design, no longer with
and the consequences derived from the
Boundary
Point cloud
Voronoi cells
T-spline mesh
Fig. 5.18: Voronoi generation
Fig. 5.19: Optimization of the boundaries of the wall with the Voronoi script
66
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Fig. 5.20: The porosity configuration resulting from the Voronoi script
67
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
68
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
digital issues in the design of porosity, it
keeps growing to infinity or stops when
would be interesting, in my opinion, to
assigning limits? Vice versa, does not a
conclude the discourse by reconnecting
growing addition of the same element
with the theoretical premises alluded to
generate a pattern itself? Therefore, is
in the introduction of the Chapter.
it sensible to identify the most efficient
The design of porosity has been
solution in terms of architectural design?
presented in this Chapter as a growing,
Gothic Architecture actualized a gradual
subtracting or a preconfigured pattern.
reduction and lightening of the masses
How can we identify the correct method
of the Romanesque. It represented a
for generating porosity? Are they really
revolutionary process of the subtraction
divergent? Also, what is effectively a
of matter, stimulated by both theoretical,
pattern? In most dictionaries pattern is
religious and structural reasons, which
defined as “an arrangement of repeated
led to its acme, when architecture
parts or decorative designs”.[114] Sometimes
became “a bundle of bones, fibre and
it is specified that it is a repetition of
muscles, a structural skeleton covered by
elements “in a predictable manner”[115].
unsubstantial cartilage.” (Bruno Zevi, 1957)
But if this is real, is not the pattern actually
[116]
a process of adding or subtracting which
. The result was astonishing (Fig. 5.21).
In the Simmons Hall dormitory, MIT,
Fig. 5.21: Example of slender structure of Gothic
architecture. Cathedral Basilica of Our Lady of Amiens[117] [114] Thomson, M., (2008). Collins English Dictionary. Glasgow: HarperCollins Publishers [115] Wikipedia, 5 May 2018. Pattern. [online]. Available from: https://en.wikipedia.org/wiki/Pattern [Accessed 9 July 2018) [116] Zevi, B., (1957) Architecture as space, New York: Horizon Press. [117] Fig. 5.21 Example of slender structure of Gothic architecture. [online]. Available from: https://www.quora.com/ What-should-everyone-know-about-Gothic-Architecture [Accessed 9 July 2018]
69
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
Steven Holl Architects aimed at realising “overall urban porosity”[118] inspired by the model of the sponge. They achieved porosity on the facades by implementing the
two-dimensional
fractal
of
the
Sierpinski carpet, more exactly its three-
Fig. 5.22: The Menger sponge research for
the porosity of the facade of the immons Hall dormitory, MIT, Steven Holl Arhcitects[120]
dimensional version the Menger Sponge. This consists: “a plane, square in shape, is divided in 3 × 3 = 9 congruent squares, b) the center square is removed. This treatment applies recursively to the remaining 8 squares and it may continue indefinitely. A 3-dimentional version of the
Fig. 5.23: The facade of the Simmons Hall dormitory, MIT, Steven Holl Arhcitects[121]
Sierpinski carpet, involving cubes instead
distinction divides all the approached
of squares, forms the Menger sponge.”[119]
solutions and a strong sense of relativity
(Fig. 5.22) The porosity outcome was
pervades and influences the discourse.
outstanding (Fig. 5.23). Was it not an
Much as relativity in the perception
operation of division and subtraction
of space and time, we would need to
originating, ultimately, a pattern? The
acknowledge the relativity of the analysis
answer is yes.
and interpretations of the porosity
Thence, it becomes evident how different
design. All we can do is to keep exploring
processes and designing strategies can
strategies and approaches, contextualising
be equally successful depending on the
and evaluating the outcomes according to
particular circumstances.
the relative and specific circumstances.
In actual fact, an extremely subtle
[118] Kotsopoulos, S. D. 2007. Design Concepts in Architecture: The Porosity Paradigm. International Journal of architectural computing. [online]. 06(03), pp. 337-358. Available from https://www.researchgate.net/ publication/221467193_Design_Concepts_in_Architecture_the_Porosity_Paradigm? [Accessed 10 May 2018] [119] Ibid [120] Fig. 5.22 The Menger sponge research for the porosity of the facade of the immons Hall dormitory, MIT, Steven Holl Arhcitects. Available from https://www.researchgate.net/publication/221467193_Design_Concepts_in_ Architecture_the_Porosity_Paradigm? [Accessed 10 May 2018] [121] Fig. 5.23 The facade of the Simmons Hall dormitory, MIT, Steven Holl Arhcitects. [online]. Available from: http:// arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 6 July 2018]
70
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
71
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
6
THE BOUNDARIES OF POROSITY
Another significantly intricate issue, which
the design of the pattern, improving the
has addressed further lines of investigation,
structural stability of the borderline areas.
is the contradictory idea of boundaries as
However,
if
we
limit of growth of our porous architectural
realistically,
language.
proposal, a wall, implies, we can instantly
what
consider, our
more
architectural
Regarding the technical sphere, in the
understand the entity of the inconsistency.
previous Chapter the disadvantages
The English Oxford Living Dictionaries
deriving from the use of Curl-noise to
defines a wall as “a continuous vertical
design the porosity pattern were already
brick or stone structure that encloses or
explained. Not being able to identify the
divides an area of land.”[122]. The words
edges of the grid representing the wall,
“continuous”, “encloses” and “divides”
caused discontinuity in the body of the wall
here clearly embody an idea of separation,
along the boundaries and, consequently,
uninterrupted
structural problems. Instead, by using the
a defined object and its undefined
Voronoi function, we could assure the
surrounding. But such an idea is not only
involvement of all parts of the grid into
typical of a semantic description in a
demarcation
between
[122] English Oxford Living Dictionary. 2018. Etymology and definition of the word wall. [online]. Available from: https:// en.oxforddictionaries.com/definition/wall [Accessed 26 April 2018]
72
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
dictionary. The perception of a wall as an instrument of closure and marking out is inherent in human nature. Throughout history, walls, very often combined with castles or strongholds, have been means of ensuring defence and safety from contingent menace of hostile populations. Regarding this, it is worth recalling the construction of massive walls, realised
Fig. 6.1: Muraille Aurelien Walls, Rome[124]
by the Romans to fortify their military camps and cities, and the noticeably long operation of the erection of the Great Wall, in China, with the multiple purposes of protection from military attacks, raids and border control[123] (Fig. 6.1) (Fig. 6.2). Looking at the more modern world, the wall that, par excellence, has represented a symbol of closure, division and obstruction
Fig. 6.2: Great Wall, China[125]
is the Berlin Wall (Fig. 6.3). Nothing, in modern European culture, has meant impenetrability, solid separation and clear boundary more than it has. Aristotle, in book V of his Metaphysics, defines the concept of limit (πέραs) as the extreme boundary of all bodies; it
Fig. 6.3: Berlin Wall[126]
is the entity which distinguishes the here, where the whole body is manifested, and
73
[123] Crystalinks. 2015. The Great Wall of China. [online]. Available from: http://www.crystalinks.com/greatwallofchina. html [Accessed 8 July 2018] [124] Fig. 6.1 Muraille Aurelien Walls, Rome. [online]. Available from:[online]. Available from: https://en.wikipedia.org/ wiki/Defensive_wall [Accessed 8 July 2018][Accessed 8 July 2018] [125] Fig. 6.2 Great Wall, China. [online]. Available from: https://en.wikipedia.org/wiki/Defensive_wall [Accessed 8 July 2018] [126] Fig. 6.3 Berlin Wall. [online]. Available from: https://www.pinterest.at/pin/415316396866722600/ [Accessed 7 May 2018]
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
the beyond, where the body does not exist
sharp and strong belief, be undermined
at all[127]. According to Aristotle, the limit is
and overturned so as to acquire its opposite
what separates the inside from the outside.
significance? How could it be an expression
This is also what Gaston Bachelard (1958)
of the indefinite, allusion to distant infinite,
reveals in his The dialectics of outside
and, implicitly, a link to something beyond
and inside[128]. “Outside and inside form
our sight and tangibility? Indeed, the
a dialectic of division”[129]. It is extremely
application of porosity language to the
touching when, referring to the example
traditional architectural manifestation of
of various poems, he raises the theme of
the wall would subvert its main features,
the threshold: “there are two beings in
expression of solidity, massiveness and
a door, that a door awakens in us a two-
impenetrability.
way dream, that it is doubly symbolical.
and vehicle of division it would become
And then, onto what, toward what, do
a filter, an architectural object able to
doors open? Do they open for the world
generate a two-way communication
of men, or for the world of solitude?”[130]
between contiguous places with different
Amazingly, with these words, the author
peculiarities, two disparate realities on its
seems to recall in one sentence the years
opposite sides. This would entail not only
of hope, dreams and fears of those people
the passage of air and water through it, but
separated by the monster of the Berlin
also an impressive transition of light and
Wall.
sounds and, most importantly, a “romantic”
Hence,
from
barrier
By virtue of all this, a spontaneous
flow of views and visions of the unknown
questioning arises: how could such a
beyond. Giacomo Leopardi in its “Infinito”
substantial symbol, which encloses a very
writes:[131]
[127] Ulliana, S., 12 January 2017. Aristotele, Metafisica. [online]. Available from: https://www.researchgate.net/ publication/312220245_Aristotele_Metafisica_A_Sintesi_e_commento_personale_al_libro [Accessed 8 July 2018] [128] Bachelard, G., (1958). The dialectics of outside and inside. In: Bachelard, G., The poetics of space. Boston: Beacon Press [129] Ibid [130] Ibid [131] Leopardi, G., (1974), “L’infinito”, in G. Einaudi (ed.), I Canti, Milano: Rizzoli: XII. 1-8
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
Always dear to me was this solitary hill and this hedge, which, from so many parts of the far horizon, the sight excludes. But sitting and gazing endless spaces beyond it, and inhuman silences, and the deepest quiet, I fake myself in my thoughts; where almost my heart scares[132]
which some of these flows and programs penetrate the site”[135]. All these considerations have subtended the theoretical and philosophical approach of our design proposal. Supposing we wanted to connect such a theoretical speculation on the theme of boundaries with the discourse concerning
75
Similarly to the hedge which, in the
the interpretation of porosity as a process.
“Infinito”, excludes a clear sight of the world
The conception of boundary as a limit
beyond it and, that being so, inspires the
acquires a relevance here as it has never
imagination of the infinite of the horizon,
had before. If we consider the real moment
a porous wall, offering numerous glimpses
of the conception of porosity as an act of
through multifarious interstices, induces
growth, subtraction or as a pattern, which
human beings to experience the pleasant
could, potentially, develop to infinite, it is
perception of the elusive beyond.
immediate the acknowledgment of the
On the urban scale, the term boundaries
necessity of an end, a limit identifying
would change into borders, as alive
the interruption of the process. Thence,
delimitations,
interchange,
the subsequent question would be: is
which identify those areas where the
it possible to impose that limit in such a
urban porosity occurs[133]. The sociologist
virtual context of design? The answer is
Richard Sennet, engaged with the issue
positive and the medium to obtain that
of the distinction between boundaries
can only be represented by mathematical
and borders, defines boundaries as “dead
formulas or algorithms to input in the
ends”[134], in opposition to border which
script to force the process to stop. This
“is an edge, which is active and allows
was the strategy we undertook which,
coexistence. It permits interfaces, through
more specifically, consisted of building
open
to
[132] Reed, H., 1 October 2016. The infinite. [online]. Available from: http://www.solearabiantree.net/namingofparts/ infinite.php [Accessed 27 April 2018] [133] Stratis, S. 2012. Creating a porous urban connective tissue. [online]. Available from: http://admin.brainserver. net/uploads/aau/projects/ARTICLES/ARTICLES_BY_SOCRATES_STRATIS_/WelcomeBackToMyBackYard/ WelcomeBackInMyBackYard.pdf [Accessed 7 July 2017] [134] Ibid [135] Ibid
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
a bounding box, containing the future
designer in the control and development
virtual wall, and identifying it as the limits
of the project. The digital and parametric
of the pattern design through algorithmic
resource constitutes only the powerful
functions (Fig. 6.4).
means
subjected
to
the
decisional
This experience once again emphasizes
orientation and creativity of the designer.
the crucial and decisive role of the
The last argument I would like to raise
BOUNDING BOX
VORONOI CONFIGURATION GENERATED WITHIN THE BOUNDING BOX
OPTIMIZATION OF THE MESHES GENERATED BY VORONOI
THE WALL CONTAINED IN THE BOUNDING BOX
Fig. 6.4: Definition of the boundaries of the porosity configuration through a bounding box
around the topic of boundaries will prove
of porosity was fictitious, mere appearance
to be particularly intriguing and slightly
and simulation of porosity, would it still
insidious, almost leading the discourse
be relevant to define its boundaries? If
to another dialectical topic, porosity as
the porous brick wall suddenly started
ornamentation or function. If the pattern
dissolving, turning into a mere aggregation
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The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
of glass bricks, would it still be reasonable
porosity? (Fig. 6.5) (Fig. 6.6)
to talk about porosity and boundaries of
Fig. 6.5: Crystal Houses, Amsterdam, MVRDV[137]
Fig. 6.6: Detail of Crystal Houses, Amsterdam, MVRDV[138]
Even worse, if the porous configuration
cladding[136], would it still be proper to
were only a fake result of a simple collage
discuss it as design of porosity boundaries?
of brick-built images printed on glass
(Fig. 6.7) (Fig. 6.8)
Fig. 6.7: Glass Farm, Schijndel, MVRDV[139]
Fig. 6.8: Detail of Glass Farm, Schijndel, MVRDV[140]
[136] Delicado, G. H. and Marcos, M. J., 27 February 2013. Glass farm. MVRDV. [online]. Available from: http://www. abitare.it/en/architecture/2013/02/27/glass-farm-mvrdv/ [Accessed 8 July 2018] [137] Fig. 6.5 Crystal Houses, Amsterdam, MVRDV. [online]. Available from: http://www.talkiesmagazine.nl/news/ fashion/chanel-temporary-boutique/ [Accessed 9 July 2018] [138] Fig. 6.6 Detail of Crystal Houses, Amsterdam, MVRDV. [online]. Available from: http://www.talkiesmagazine.nl/ news/fashion/chanel-temporary-boutique/ [Accessed 9 July 2018] [139] Fig. 6.7 Glass Farm, Schijndel, MVRDV. [online]. Available from: http://www.abitare.it/en/architecture/2013/02/27/ glass-farm-mvrdv/ [Accessed 9 July 2018] [140] Fig. 6.8 Detail of Glass Farm, Schijndel, MVRDV. [online]. Available from: http://www.abitare.it/en/ architecture/2013/02/27/glass-farm-mvrdv/ [Accessed 9 July 2018]
77
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
In my opinion, these examples should, more suitably, be ascribed to the subject mentioned
above,
concerning
mere theoretical speculation not pertinent to our research.
the
In fact, this particular debate has never
contraposition of the porosity design
involved our design research. The latter
as pure ornamentation or function.
has always been demonstrated as a result
This topic has been evoked in different
of the progressive interdependence and
occasions throughout the report but will
integration between the two faces of the
not be deepened further. This choice is
concept of porosity, functionality and
motivated by the reasonable will to avoid
aesthetic value.
78
79
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
CONCLUSION
Some of the major issues faced in the contemporary
world
of
architecture
can be identified as follows. Necessity of
simplification
The architectural research described in this report endeavoured to respond to
systems, returning to the essentiality
those requirements with a sensible and
and
elements
realistic proposal. Learning from nature,
and mechanisms. Demand of flexible,
the design investigation borrowed one
complex and competitive architectural
of the most common and primordial
solutions imposed by the development
characteristics, porosity, transposing it
of sophisticated means of parametric
onto the architectural field. It explored the
design and the spreading of cutting-edge
concept of porosity on different levels to
digital technologies. Constant yearning
guarantee its application on multiple scales.
for beauty, dictated by the ideal of
It conceived a new architectural language,
unicity, exceptionality and astonishment.
based on the iteration and modularity of the
The modern idea of beauty seems to be
components, to ensure mass production
accomplished by the perfect equilibrium
and feasibility. Furthermore, it satisfied
of
processes
symmetry and chaos.
and
efficiency
of
between rationality and randomness,
natural
80
The language of porosity: rational randomness. Versatility of innovative and modular clay geometries.
the desire of innovation and originality
terms of flexibility, structural performance,
through the design of elegant and unique
efficiency and aesthetic quality.
three-dimensional
81
clay
components,
To conclude, the value of this design
which appear to outshine the traditional
research lies in its capability and further
two-dimensional brick wall and unfold
perspective to elevate a primordial and
new perspectives of development of the
natural property and material such as
architectural clay systems. The engine
porosity and clay to highly-technological
of the design development consisted
and versatile applications, offering an
of specific parametric software which
innovative,
allowed the optimization of the proposal in
architectural language.
parametric
and
unique
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
82
83
The language of porosity: rational randomness.
Versatility of innovative and modular clay geometries.
OUTLOOK
This proposal is not meant to be the answer, the final solution and the end. It represents only the initial point of a new highly potential field of exploration. Unquestionably, many aspects should be further developed and optimised. However, starting from the knowledge and awareness acquired through this research, invaluable and crucial innovative solutions could be achieved.
84
REFERENCES • • • • • • • • • • • • • • •
• • • 85
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Houghton Mifflin Harcourt Publishing Company. 2011. Etymology and definition of the word porosity. [online]. Available from: http://www.dictionary.com/browse/porosity [Accessed 26 April 2018]. Jimenez, A., 3 June 2016. Visual Porosity and Scale: Architecture Thesis. [online]. Available from: https://issuu.com/andresjimenez08/docs/thesis-v7-sm [Accessed 7 July 2018]
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86
LIST OF FIGURES Abstract
Fig. 0: Clay geometry fabricated with the slip-casting technique. Author’s own image
1. Introduction
Fig. 1.1: Proposal for an architectural application of our modular and porous clay language. Author’s own image
2. Different scale of porosity
Fig. 2.1: Cross-sectional image of composite oxide ceramics, a low-porosity material. [online]. Available from: https://www.sciencedirect.com/science/article/pii/B9780124077881000010#s0015 [Accessed 17 June 2018] Fig. 2.2: Two-dimensional reticulated materials with square pores. [online]. Available from: https:// www.sciencedirect.com/science/article/pii/B9780124077881000010#s0015 [Accessed 17 June 2018] Fig. 2.3: Three-dimensional reticulated foamed materials: nickel foam and iron foam. [online]. Available from: https://www.sciencedirect.com/science/article/pii/B9780124077881000010#s0015 [Accessed 17 June 2018] Fig. 2.4: Representative examples of metallic foams prepared either by direct (a and b) or by indirect (c and d) foaming techniques. [online]. Available from: http://pubs.rsc.org/en/Content/ ArticleHtml/2015/MH/c4mh00244j [Accessed 18 April 2018] Fig. 2.5: Representative examples of metal sponges prepared by different routes. [online]. Available from: http://pubs.rsc.org/en/Content/ArticleHtml/2015/MH/c4mh00244j [Accessed 18 April 2018] Fig. 2.6: Representative examples of nanoporous metals. [online]. Available from: http://pubs.rsc. org/en/Content/ArticleHtml/2015/MH/c4mh00244j [Accessed 18 April 2018] Fig. 2.7: Examples of application of porous aluminium. [online]. Available from: https://www. exxentis.com/anwendungen/ [Accessed 19 April 2018] Fig. 2.8: Examples of clay applications: bricks, floor tiles and roof tiles. [online]. Available from: http://www.ugabox.com/business/directory/clay-products.html [Accessed 6 July 2018] Fig. 2.9: Examples of usage of ceramics. Lydia johnson ceramics. [online]. Available from: http:// e2.turningearth.uk/lydia-johnson/ [Accessed 6 July 2018] Fig. 2.10: Example of perpendicularity of plans in the neoplasticism architecture. Theo van Doesburg Contra-Construction Project (Axonometric) 1923. [online] Available from: https://www. moma.org/collection/works/232 [Accessed 7 July 2018] Fig. 2.11: Model of Maison Particulière (Private House), Theo van Doesburg and Cornelis van Eesteren. [online]. Availabe from: https://it.pinterest.com/zlatko928/620-bauhaus-de-stijlneoplasticism/?lp=true [Accessed 7 July 2018] Fig. 2.12: Simmons Hall dormitory, MIT, Steven Holl Architects. [online]. Available from: http:// arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 6 July 2018] Fig. 2.13: Study for the application of horizontal and vertical porosity. Simmons Hall, MIT. [online] Available from: https://www.e-architect.co.uk/boston/simmons-hall-boston [Accessed 12 May 2018] Fig. 2.14: Outcome of the vertical and horizontal porosity design. Simmons Hall, MIT. [online] Available from: https://www.e-architect.co.uk/boston/simmons-hall-boston [Accessed 12 May 2018] Fig. 2.15: Sketch for the porosity on the facade. Simmons Hall, MIT. [online]. Available from: http:// 87
arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 12 May 2018] Fig. 2.16: Outcome of the porous facade through the multitute of windows. Simmons Hall, MIT. [online]. Available from: http://arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl. html [Accessed 12 May 2018] Fig. 2.17: Sketch for the vertical cavities. Simmons Hall, MIT. [online]. Available from: http:// arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 12 May 2018] Fig. 2.18: Detail of the vertical porosity through the cavities. Simmons Hall, MIT. [online]. Available from: http://arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 12 May 2018] Fig. 2.19: Slum Housing in El Salvador. [online]. Available from https://www.povertyactionlab.org/ evaluation/slum-housing-upgrading-el-salvador-mexico-and-uruguay [Accessed 7 July 2018] Fig. 2.20: Favela housing in Rio de Janeiro. Picture by Paul Stallan. [online]. Available from https:// www.urbanrealm.com/blogs/index.php/2011/05/23/slum-jpg?blog=12 [Accessed 7 July 2018] Fig. 2.21: Sponge City, Peter Cook 1974. [online]. Available from: https://onlinelibrary.wiley.com/ doi/pdf/10.1002/ad.419 [Accessed 18 April 2018] Fig. 2.22: Section of the Sponge City project, Peter Cook 1974. [online]. Available from: https:// onlinelibrary.wiley.com/doi/pdf/10.1002/ad.419 [Accessed 18 April 2018] Fig. 2.23: Porous wall. Architectural scale. Author’s own image Fig. 2.24: Cross-scale design development. Author’s own image Fig. 2.25: The porous skyscraper. Author’s own image Fig. 2.26: The metal frame as a support of the light clay shading system. Author’s own image Fig. 2.27: Application of the structural solid components as a pavilion. Author’s own image
3. Different layers of porosity
Fig. 3.1: Coloured scanning electron micrograph (SEM) of a leaf tissue structure. [online]. Available from: https://fineartamwww/featured/leaf-tissue-structure-sem-steve-gschmeissner.html [Accessed 18 June 2018] Fig. 3.2: Different layers of a leaf tissue structure. [online]. Available from: https: https://www. slideshare.net/j0martin/plant-tissues-and-organs [Accessed 18 June 2018] Fig. 3.3: Example of shadow in architectural patio. [online]. Available from: https://www.loverush. com.au/la-belle-vie/ [Accessed 18 June 2018] Fig. 3.4: Effect of sunlight passing through a porous wall. San Telmo Museum, San Sebastian, Nieto Sobejano Arquitectos. [online]. Available from: https://www.archdaily.com/208764/santelmo-museum-nieto-sobejano-arquitectos [Accessed 18 June 2018] Fig. 3.5: Possibilities of components depending on the number of cubes aggregated. Author’s own image Fig. 3.6: One example of the solutions of Soma cube. [online]. Available from: https://en.wikipedia. org/wiki/Soma_cube [Accessed 18 June 2018] Fig. 3.7: Examples of monocube, dicubes, tricubes, tetracubes, pentacubes and hexacubes for Baiocchi Figures. [online]. Available from: http://www.recmath.org/PolyCur/besbaiocchi/index. html [Accessed 14 February 2018] Fig. 3.8: Outcome of the combination of the first solutions of porous modules. Author’s own image Fig. 3.9: Some of 256 configurations of the cubic module, obtained by intersecting the cube with a sphere, following the marching cube logic. Author’s own image Fig. 3.10: Application of the marching cube subtracting process to the polycubes. Author’s own image Fig. 3.11: Application of the marching cube subtracting process to the polycubes. Author’s own image Fig. 3.12: Ennis House, Frank Lloyd Wright, Los Angeles, California. [online]. Available from: https:// whiteriver.com/products/cube-paperweight-ennis-design-2-5-sq [Accessed 9 May 2018] Fig. 3.13: La Miniatura, Frank Lloyd Wright, Los Angeles, California. [online]. Available from: http:// www.sytyson.com/storer-house-par-frank-lloyd-wright/ [Accessed 9 May 2018] Fig. 3.14: Some examples of the module cut following the pattern of lines. Author’s own image
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Fig. 3.15: Two examples of combination of different modules cut according to the pattern of lines. Author’s own image Fig. 3.16: Final geometry. Author’s own image Fig. 3.17: Final geometry in the overal design. Author’s own image Fig. 3.18: The benefits of a porous wall. Author’s own image Fig. 3.19: Variation of the second layer of porosity through the parametric control of its design. Author’s own image Fig. 3.20: Example of marine sponges: Phylum Porifera. [online]. Available from: https:// thephylumporiferaproject.wikispaces.com/Callyspongia+plicifera [Accessed 8 July 2018] Fig. 3.21: Examples of Mashrabiya serving as ventilation and protection for buildings. [online]. Available from: https://www.hommeg.com/moucharabieh-all-on-the-art-and-deco-piece-verytrendy [Accessed 4 July 2018] Fig. 3.22: Al Bahar Towers, Abu Dhabi, Aedas Architects. [online]. Available from: m/270592/albahar-towers-responsive-facade-aedascom/moucharabieh-all-on-the-art-and-deco-piece-verytrendy [Accessed 4 July 2018] Fig. 3.23: Larchmont Lotus Building, Los Angeles, XP& Architecture. [online]. Available from: https://archinect.com/firms/project/17201981/larchmond-lotus-xp-architecture-designs-aclimate-regulating-self-cleaning-and-image-improving-new-envelope-for-the-larchmontmedical-center-in-los-angeles/17201983 [Accessed 4 July 2018] Fig. 3.24: King Fahad National Library, Saudi Arabia, Gerber Architekten. [online]. Available from: https://it.pinterest.com/pin/489766528198435415/?lp=true [Accessed 4 July 2018] Fig. 3.25: Casa Walther Moreira Salles, Rio de Janeiro, Olavo Redig de Campos. [online]. Available from: https://belblasiarquitetura.wordpress.com/tag/arquitetura/ [Accessed 4 July 2018] Fig. 3.26: Termitary House, Thanh Khe District, Vietnam, Tropical Space. [online]. Available from: https://www.archdaily.com/594339/termitary-house-tropical-space [Accessed 4 July 2018]
4. Porosity in a dualism of space and matter
Fig. 4.1: Untitled (One Hundred Spaces) 1995 by Rachel Whiteread. [online]. Available from: http://www.artzip.org/rachel-whiteread [Accessed 24 May 2018] Fig. 4.2: Untitled (Book Corridors) 1998 by Rachel Whiteread. [online]. Available from: http:// www.tate.org.uk/art/artists/rachel-whiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018] Fig. 4.3: Untitled (Stairs), 2001 by Rachel Whiteread. [online]. Available from: http://www.tate.org. uk/art/artists/rachel-whiteread-2319/five-things-know-rachel-whiteread [Accessed 24 May 2018] Fig. 4.4: Relativity, 1953, by Maurits Cornelis Escher. [online]. Available at: http://artattack911. com/mc-escher-mind-bending-art-bay-area-and-peninsula-art-classes-for-all-ages/ [Accessed 24 May 2018] Fig. 4.5: The Prisons, 1750, Giovanni Battista Piranesi. [online]. Available at: https://en.wikipedia. org/wiki/Giovanni_Battista_Piranesi#The_Prisons_(Carceri) [Accessed 24 May 2018] Fig. 4.6: Ghost II, 2009 by Rachel Whiteread. [online]. Available from: http://www.artzip.org/ rachel-whiteread [Accessed 24 May 2018] Fig. 4.7: Alenquer House, Portugal, Aires Mateus. View of the openings toward the outside. [online]. Available from: http://arquitecturadesignetc.blogspot.com/2011/10/manuel-e-franciscoaires-mateus-casa-em.html [Accessed 5 July 2018] Fig. 4.8: Alenquer House, Portugal, Aires Mateus. Plan and an internal perspective view. [online]. Available from: http://twobo.blogspot.com/2010/ [Accessed 5 July 2018] Fig. 4.9: Alenquer House, Portugal, Aires Mateus. View of the diffusion of the light on the white volumes.. [online]. Available from: http://twobo.blogspot.com/2010/ [Accessed 5 July 2018]
5. Porosity as a process
Fig. 5.1: Basic discrete components derived from the aggregation of voxel cubes. Author’s own
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image Fig. 5.2: Rules and changing parameters of the first script to guarantee at least one face overlapping the top surface of the underlying component. Author’s own image Fig. 5.3: Outcome of the first script based on the overlapping of components from one point. Author’s own image Fig. 5.4: Outcome of the first script based on the overlapping of components from multiple points. Author’s own image Fig. 5.5: Logic of growth of the new modular geometry for the randome reduce script. Author’s own image Fig. 5.6: Logic of growth of the new modular geometry for the shortest walk script. Author’s own image Fig. 5.7: Changing parameter and logic of subtraction in the random reduce script. Author’s own image Fig. 5.8: Randome reduce outcome. Author’s own image Fig. 5.9: Changing parameter and logic of subtraction in the shortest walk script. Author’s own image Fig. 5.10: Shortest walk outcome. Author’s own image Fig. 5.11: Changing parameter and Marching Cube script. Author’s own image Fig. 5.12: Process of defining porosity configuration from the pattern generated by Curl-noise. Author’s own image Fig. 5.13: Proposal deriving from the Marching Cube script. Author’s own image Fig. 5.14: Different control of the boundaries between Curl-noise (left) and Voronoi (right). Author’s own image Fig. 5.15: Examples of Voronoi diagrams. [online]. Available from: https://github.com/d3/d3voronoi [Accessed 9 July 2018] Fig. 5.16: National Kaohsiung Performing Arts Center, Zaha Hadid proposal. [online]. Available from: https://www.researchgate.net/publication/318208318_EXAMINING_THE_USE_OF_ VORONOI_DIAGRAMS_IN_ARCHITECTURE_ON_A_STUDENT_PROJECT [Accessed 8 July 2018] Fig. 5.17: Water Cube for Beijing 2008 Olympic Games by PTW Architects. [online]. Available from: https://www.researchgate.net/publication/318208318_EXAMINING_THE_USE_OF_ VORONOI_DIAGRAMS_IN_ARCHITECTURE_ON_A_STUDENT_PROJECT [Accessed 8 July 2018] Fig. 5.18: Voronoi generation. Author’s own image Fig. 5.19: Optimization of the boundaries of the wall with the Voronoi script. Author’s own image Fig. 5.20: The porosity configuration resulting from the Voronoi script. Author’s own image Fig. 5.21: Example of slender structure of Gothic architecture. Cathedral Basilica of Our Lady of Amiens. [online]. Available from: https://www.quora.com/What-should-everyone-know-aboutGothic-Architecture [Accessed 9 July 2018] Fig. 5.22: The Menger sponge research for the porosity of the facade of the immons Hall dormitory, MIT, Steven Holl Arhcitects. [online] Available from https://www.researchgate.net/ publication/221467193_Design_Concepts_in_Architecture_the_Porosity_Paradigm? [Accessed 10 May 2018] Fig. 5.23: The facade of the Simmons Hall dormitory, MIT, Steven Holl Arhcitects. [online]. Available from: http://arkitekt-ur.blogspot.com/2013/11/mit-simmons-hall-by-steven-holl.html [Accessed 6 July 2018]
6. The boundaries of porosity
Fig. 6.1: Muraille Aurelien Walls, Rome. [online]. Available from: https://en.wikipedia.org/wiki/ Defensive_wall [Accessed 8 July 2018][Accessed 8 July 2018] Fig. 6.2: Great Wall, China. [online]. Available from: https://en.wikipedia.org/wiki/Defensive_wall [Accessed 8 July 2018] Fig. 6.3: Berlin Wall. [online]. Available from: https://www.pinterest.at/pin/415316396866722600/ 90
[Accessed 7 May 2018] Fig. 6.4: Definition of the boundaries of the porosity configuration through a bounding box. Author’s own image Fig. 6.5: Crystal Houses, Amsterdam, MVRDV. [online]. Available from: http://www. talkiesmagazine.nl/news/fashion/chanel-temporary-boutique/ [Accessed 9 July 2018] Fig. 6.6: Detail of Crystal Houses, Amsterdam, MVRDV . [online]. Available from: http://www. talkiesmagazine.nl/news/fashion/chanel-temporary-boutique/ [Accessed 9 July 2018] Fig. 6.7: Glass Farm, Schijndel, MVRDV. [online]. Available from: http://www.abitare.it/en/ architecture/2013/02/27/glass-farm-mvrdv/ [Accessed 9 July 2018] Fig. 6.8: Detail of Glass Farm, Schijndel, MVRDV. [online]. Available from: http://www.abitare.it/ en/architecture/2013/02/27/glass-farm-mvrdv/ [Accessed 9 July 2018]
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