Studio 9: Architectural Notations
KTH Royal Institute of Technology Architecture School
The third prototype aims to follow the division and multiplicity of Gothic continuous line. The script has been designed to sort surface points in relation to their positioning on the Z axis (height) and then produce lines that split into 2 with the surface’s descent.
The concept derives from Gothic line’s property of division: splitting into 2 with progression downwards (e.g. arches, window divisions, ornaments)
These raw results were produced with 1. cylindrical surface 2. NURBS wavy surface.
27.02
Quick Prototypes to start with the next prototype. The logic for the lines is generated through a NURBS Surface with sorting positioning of each point.
Grasshopper Geometry Creation Diagram (in steps)
Basing on the Gothic: Continuous Line Exploration
Ornament in the Digital Setting
Concept Sketches
Intersecting Circles Projection
Continuous Line
Essay on Ornament
Sustainable Cell Geometry.
Adaptive Morphogenesis– can be described as a process of self-organisation through evolutionary transformation. Diversity is created through a series of small-scale adaptive changes. Each element can be recognised as a ‘cell’. Ensuring system’s sustainable organisation, such cells develop local symmetries as well as global, organic distribution.
Process
Taxonomy
2D Systems
3D Cell Geometries & 2D Cell Changes
Concept Visuals
Scripts
(Tip: Beware- they are neither cleaned-up nor explained)
Iterative substitutions in two- and three-dimensional matrices
using Markov random field models of von Neumann neighborhoods
Tiling
Building a probabilistic model
Iterative substitutions in two dimensions
Iterative substitutions in three dimensions, starting with source data
Iterative substitutions in three dimensions, starting with Perlin noise
Isolated bodies
Last project, I was studying fractal systems such as the Sierpinski Tetrahedron. This time, I wanted to move away from symmetry and rationality. The key words for this project are chaos, randomness, disorder and noise. In which ways could they be considered relevant in terms of notation and of formations that are created over time? How could functions of chaos, randomness or noise inform the computation of architectural form?
