This project revolves around usage of real time context scanning as data input and converting it to physical objects through chronomorphologic modeling. The most interesting part is the integration of real time scanning, computational generative modelling, and rapid prototyping tools to realize the design. The complexity of the object can be controlled using parameters in the computational modelling software which in turn provides control over the local as well as global model.
The final form reverberates the sensitivity between the context, computer generated model as well as the fabricated physical object, true to the title.
For this assignment, I was reading about “Robots in Architecture.” I thought the crossover between these two disciplines was really interesting, specifically because even though I don’t know much about them, I find robots fascinating. In this project, robots are used to help construct different architectural works. I don’t know much about the algorithms, but coding and engineering had to play a key role in the functioning success of these robots. The website says that KUKA|prc is a program that simulates the different positions of the robot, also citing a wide range of algorithms (such as Grasshopper) that these coders can build upon to make sure the robot functions smoothly. The creators had to have a very specific vision in mind for the buildings, and then an even greater handle on the coding needed for the robots to successfully carry it out. This is a great example of how STEM and the arts can intersect to form something powerful and innovative, and I would love to watch a project be carried out like this first hand.
Aguahoja (1 – 3) Contributors: Neri Oxman & MIT Mediated Matter Group 2018 – 2021
Physical installation at MIT Media Lab in February 2018
The project I have chosen is the Aguahoja collection (Aguahoja 1 & Aguahoja 2) by the Mediated Matter Group at MIT which are a series of pavilions and associated artifacts made from digitally fabricated biodegradable composites (ie. a cellulose-chitosan-pectin-calcium carbonate compound. After use, these ‘structural skins’ can be programmed to degrade in water in a process called “environmental programming”.
Prototypes at MIT Media Lab in February 2018
What I admire is how ‘self-sufficient’ the project is and how integrally the ‘cradle-to-cradle’ aspect of its design concept were incorporated. The lack of need for a secondary load bearing structure conventionally needed for stability and form is forgone in favour of a material with these features embedded into the molecular structure, giving an unique elegance. I also appreciate the rigor that the researches put into development of their ‘library’ of functional biopolymers, allowing them to develop an extensive range of biocomposites that can respond to different stimuli (temp / heat, humidity, light, etc.).
According to the paper “Flow-based Fabrication: An integrated computational workflow for design and digital additive manufacturing of multifunctional heterogeneously structured objects”, published by the Mediated Matter Group in 2020, their work flow “encodes for, and integrates domain-specific meta-data relating to local, regional and global feature resolution of heterogeneous material organisations.” I interpreted it to mean that they had a mesh-free geometric primitive onto which they associated the material properties and variable flow rates of various water-based materials, and then tested/ demonstrated the physical properties of these simulations with a robot arm and multi-syringe multi nozzle deposition system. This in context of another published paper “Designing a Tree: Fabrication Informed Digital Design and Fabrication of Hierarchical Structures” implies that the biomolecules of these biomaterials are deliberately chosen to “maximize desired basic-to-acidic and hydrophobic-to-hydrophilic transitions”, while “decay maps” show the degradation of the material over time in relation to various environmental factors. Clearly, a lot of categorization and material mapping occurs on the nano scale, followed most likely by an optimization algorithm (potentially a Machine Learning program) that determines an optimal molecular organisation to be fed into robot arm & multi nozzle deposition system depending on the environmental parameters encoded for.
Robot arm depositing composite material fibers
Arguably, this is a manifestation of the “Form Follows Function” creed where an artifact/ structure’s physical form emerges as result of the functions it has to serve. This is supported by the quote “The Aguahoja 1 platform is… where shape and material composition are directly informed by physical properties (eg. stiffness and opacity), environmental conditions (eg. load, temperature, and relative humidity) and fabrication constraints (eg. degrees-of-freedom, arm, speed, and nozzle pressure), among others.” Thus, it is inferred that any artistic sensibilities exhibited by the work were encoded via the prioritization and curation of specific environmental & physical factors.
I’m not sure how much this counts, but I decided to look into the architectural aspect of the generative design question, because both of my parents are architects who have worked on many generative related projects. What I found was the Heydar Aliyev Center in Baku, designed by Zaha Hadid Architects. This structure, designed and built between 2007 and 2012, is a physical representation of the early integration of AI and generative design with standard architectural design and practice. It’s a gorgeous building, with an amazing fusion of traditional Islamic design concepts and a more organic and futuristic form, done mostly in white with the exception of the Theater I believe. It was in the geometry of the “skin” of the building, as in certain walls and the exterior, where AI was used to geometrically model based on certain parameters what the best position for say, an opening, would be, or the dimensions and shape of a tile of cladding to be manufactured.
An exterior shotThe theater/music hallA shot from a distanceAn interior shot
The building structure itself is fascinating, and looks sleek and futuristic in classic Zaha Hadid style. What algorithms and how they were created and used I guess are trade secrets, but they must have really tweaked them, because this is the most elegant and efficient example of generated architecture that I have seen so far. I do know though that those algorithms seemed to be less in relation to the physical form of the building, and was only really mentioned in its external cladding and some of the internal features.
I like the wood bending project done by Sima Bdeir during Jeremy Ficca’s ASO studio as a part of the MAAD program at CMU. I admire how natural the structure appears. I admire how the light, material, and how it rests on ground were all taken into consideration. I believe some kind of generative software along with Rhino was used to generate the form and the structure was built using wood bending techniques, laser cutter, and metal supports. I think the creator’s artistic sensibilities come out in the unique form. I believe they took inspiration from nature and rethought how that could be practically used in this structure. Although, I do not understand the purpose of the curves near the back. They do not appear to seats, perhaps they could be to store things, or simply for design purposes. Overall, I believe the generative process used to create this structure makes it interesting to walk through.
The SnP chair by Daniel Widrig & Material Architecture Lab is an injection-molded recycled plastic sculpture of sorts. Its interlocking parts don’t require any additional fasteners, thus allowing the structural system to be disassembled and reassembled in any number of combinations, from the scale of a stool to an entire pavilion.
the SnP chair: just one configuration of the structural system
I admire the adaptability and wide applicability of this project, as well as the use of recycled material. With so many realized parametric projects, there is a tendency to disregard concerns of material use for the sake of the art.
Additionally, the interlocking “S” and “P”-shaped pieces are beautifully designed, with so many different configurations possible (as illustrated in the teams’ diagrams). The name “SnP” alludes to the s-traps and p-traps used in plumbing, though the project portfolio doesn’t elaborate much on the geometric reasoning of the individual module.
The “Wanderers” by MIT Media Lab professor Neri Oxman is an extraordinary and inspirational project.
The works integrate the themes of nature, life, fashion, and 3D design so perfectly. Through exploring the biological growth process and the elements that sustain life–“earth, water, air, and fire”, the works are not only full of vitality and connotation, but also they are very sophisticated and exquisite in terms of the aesthetic aspect.
As for the algorithms that generated the work, “phenotype” is transformed into “genotype”. The input geometric representations are repeatedly transformed and deformed to form various organic shapes that simulate the process of growth.
The colors in the wearables are well-combined. You can get an understanding of “life” through her designs–the organic shapes and forms, simulating the biological growth process in nature, remind the viewers of the constantly dividing cells, the sophisticated brain, and the marvelous and diverse plants.
The Helix Bridge at Marina Bay Sands in Singapore was designed by Cox Architects and ARUP Engineers. I think it’s a really cool example of computational fabrication that took physical form and can be physically interacted with. It takes characteristics of DNA structure, is extremely efficient with the amount of material needed to build it, and can support the weight of 16 thousand people at a time.
The bridge was inspired by DNA structures and uses Euclid’s axioms algorithm which focuses on the interlocking relationships between points. The basic slice of the pattern of the bridge was most likely decided on and then rotated at regular intervals around a “spine” which runs through the center where the pavement would be. These were connected to one another using a ‘polyline’ variable that links and laces points from each of the slice patterns as it twists to create the DNA spiral-looking bridge. Triangular bracing to ensure structural stability and other components for the physical functionality of the bridge were computed by finding patterns that link certain points of the slice to others, pairing, and adding pieces to them.
Main source: http://asd.courses.sutd.edu.sg/cdt/parametric-modelling/
The Mediated Matter group creates fabrication tools to enhance the relationships between our natural and man – made environments. It also focuses on material ecology.
One of their projects, the Aguahoja II builds upon this technology by creating biopolymer skin. They used a generative pattern of rigid veins containing high concentrations of cellulose within the multi-material skin. Something that I most admire about this project is its functionality and how purposeful it is. By incorporating natural pigments and dyes, the patterns that are inspired by them can be used to communicate with other organisms. The creators artistic sensibilities come in with the fact that they get to create and turn the different culmination of patterns into skin.
I am most inspired by the work of Amanda Ghassaei. She has been making groundbreaking artwork for years and continues to push computational art’s limits. One project of hers that I admire is her locked letters project which she worked on in 2021. Letter-locking is the practice where a letter becomes its own envelope through a series of complex folds. Ghassaei uses x-ray microtomography and a fascinating “virtual unfolding” method to read sealed letters without even opening them. Although I am not familiar with microtomography, according to her website she uses “3D reconstruction of the folded packet using data collected by a high-resolution microtomography scanner” to create her artwork. Additionally, I really admire her work on 3D printing a record player(2012). I commend this because it is a rarity in the 3D printing realm, and it actually produces music just like any other vinyl! According to her website, she imported raw audio data, did some geometrical calculations, and eventually exported this geometry directly to a 3D printable file format. Check her work out below!
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