(no plastic)
Historically, architecture begins with a concept, an overall strategy or some kind of pre-meaning. This studio proposed a re-examination of the possibility of form generation as an autonomous act. As an extension of this interest, student research focused more specifically on the degree to which autonomous geometrical forms could be interpreted as an accumulative mutation, or as having latent affective potential.
If traditionally, design was derived from an expertise of form and proportion, mutating design is an advanced stance toward that tradition: it cannot escape and is thus an evolution of that tradition. Dynamic topology then becomes a tool that pertains in large degree to the highest control of the manipulations of those formal strategies. If traditional architecture needed to determine the degree to which a particular project had achieved its extent of beauty, these topologies explore the ugly and the horrific as methods of material the ugly as a reversed mechanism of a more traditional beauty and the horrific as a will to anguish or a more appalling encounter with the work. Rooting this topological design paradigm within the confines of architecture's aim for proportion and beauty, the ugly and horrific are the necessary variations that allow for an escape toward a spatial model of shocking presence.
The studio will translate synthetic organism techniques into formal-topological techniques, creating basic taxonomies of a cell that generate new species of formal behavior.
Is not about the mimetic career of biology into and onto architecture, but of the transference of multiple physilogical scales into the systemic intelligence of the involutes surface-dwelling, and back again.
Foucault's history of medicine is simultaneously a history of vision. The species becomes, in the Modern regime of medical surveillance, an animated corpse, an assemblage of organs into which diagnoses are invested and installed. The inside becomes the outside. Or more precisely, the insides become an interior structural condition to be understood in relation to another exterior structural conditional an epidermal membrane. There is nothing but skin, all the way to bone, which is itself another skin.
The design task is deceptively straightforward: a Green House + Botanic Garden.
Critical to the discussion of interiority is the conditional understanding of the irreducible 'unit' that composes architecture. Investigating the nature of the unit and what is irreducible to architecture will allow for us to explore the topic of coagulation and liquidity.
Architecture’s Artificiality
Architectural form conventionally connotes solidity. It is a limit barrier, concretely fixed, through which flows pass and circulate. The solidity of form gives shape to circulation by internalizing it and channeling its vascular fluidity.
This studio, however, takes syntactic organs as the material of form and formation. Synthetic matter is not something to fill volumes but the substance of envelope itself.
In other ways, architecture has produce artificial artifacts though it history. But here, even as artificiality conforms to a designed figure, it is remains a problem of composition, something additional to or incorporated into structure; we will try to develop a sense of speciation for the production of new conditions of architecture. Behavior
Project
Green House + Botanic Garden in the riverside park.
We will analyze flower and vegetation species, to create news syntactic “cyber vegetation systems” base on these emerging logic we will produce architecture behavior that will conduct to the production of the project.
Techniques
the studio will base its research on particle systems, scripting, Cellular systems, Incremental transformations
Fabrication and solid state, the studio will use some of the facilities GSAPP fabrication lab, which will allow the research to be evolved from the abstract speculation into very specific production experiments:
Assembly strategies, Structure systems, Aesthetic effects, etc.
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