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Architecture &

Student work by Jeffrey Montes produced while earning the Master of Architecture (M. Arch) degree at the Graduate School of Architecture, Planning and Preservation / Columbia University in the City of New York. Architecture depends on and is enabled by all the things which it purports to contain. The work in "Architecture &" is not self-referential. Instead, it deals with eleven themes from the specifically hypervast to the abstractly minute: Noosphere, system, agonism, spatia, code, waterworks, views, the desert, drones, mechanism, and Space.

Student work by Jeffrey Montes produced while earning the Master of Architecture (M. Arch) degree at the Graduate School of Architecture, Planning and Preservation / Columbia University in the City of New York.

Architecture depends on and is enabled by all the things which it purports to contain. The work in "Architecture &" is not self-referential. Instead, it deals with eleven themes from the specifically hypervast to the abstractly minute: Noosphere, system, agonism, spatia, code, waterworks, views, the desert, drones, mechanism, and Space.

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This book contains work by Jeffrey Montes<br />

produced while earning the Master of<br />

<strong>Architecture</strong> (M. Arch) degree at the<br />

Graduate School of <strong>Architecture</strong>, Planning<br />

and Preservation / Columbia University in<br />

the City of New York.<br />

<strong>Architecture</strong> depends on and is enabled by<br />

all the things which it purports to contain.<br />

The work in "<strong>Architecture</strong> &" is not selfreferential.<br />

Instead, it deals with eleven<br />

themes from the specifically hyper-vast to<br />

the abstractly minute: Noosphere, system,<br />

agonism, spatia, code, waterworks, views,<br />

the desert, drones, mechanism, and Space.


ARCHITECTURE<br />

&<br />

Noosphere 004<br />

system 032<br />

agonism 040<br />

spatia 064<br />

code 074<br />

waterworks 082<br />

views 096<br />

desert 114<br />

drones 144<br />

mechanism 166<br />

Space 184<br />

CELSA N<br />

course: Advanced Studio V<br />

critics: David Benjamin (TA: Ray Wang)<br />

ARCHITECTONIC<br />

courses: Arch. Technology III, IV, V, & Advanced Curtain Wall<br />

critics: Wilfried Laufs; Robert Condon; Jay Hibbs,<br />

Patrick Hopple, Elias Dagher; Robert Heintges<br />

OVER-UNDER<br />

course: Core Two Studio<br />

critic: Cristina Goberna (mentor: Chao Lun Wang)<br />

BODY CAVITIES<br />

course: Core One Studio<br />

critic: Janette Kim (mentor: Thomas Heltzel)<br />

myMONKEYWROTEHAMLETLASTNIGHT<br />

with Lorenzo Villaggi<br />

course: Encoded Matter<br />

critic: Ezio Blasetti<br />

POOL OF OVERSIZED LOCALITIES<br />

course: Core One Studio<br />

critic: Janette Kim (mentor: Thomas Heltzel)<br />

VEAPORTAL<br />

with Damaskene Danaë Vokolos<br />

course: Core Three Studio<br />

critics: Mario Gooden with Carson Smuts<br />

ANTS, BOMBS, BIOSPHERE<br />

course: Advance Studio VI<br />

critics: Benjamin Aranda with Joaquín Bonifaz & Stephanie Lin<br />

DRONE COLLIDER<br />

with Brittany Melina Roy<br />

course: Advanced Studio VI<br />

critics: Benjamin Aranda with Joaquín Bonifaz & Stephanie Lin<br />

CHIRIS<br />

with Chenyu "Carl" Pu & Damaskene Danaë Vokolos<br />

course: Transformable Design Method<br />

critic: Chuck Hoberman<br />

L-MACHINE<br />

course: Space Studio VIII<br />

critics: Michael Morris with Kelsey Lents (TA: Christina Ciardullo)<br />

2012 - 2015


A B<br />

HUMAN COSMOS<br />

TECHNOLOGY<br />

HUMAN BODY


Philosophy, art and language are<br />

technologies.<br />

Technology enables the<br />

aggregation and synthesis of<br />

ideas,<br />

attitudes, and<br />

matter, expanding a<br />

Cosmos around the<br />

Human Body.<br />

We can call this <strong>Architecture</strong>.


The establishment of a Noosphere,<br />

the primary task of our century,<br />

requires that Earth's vast processes be<br />

grasped through both observation and<br />

experimentation. CELSA N<br />

recognizes<br />

that it is only through the technological<br />

and cognitive framework of the extraplanetary<br />

that we may achieve this task.<br />

Currently in place is a global mechanism<br />

of terrestrial, aerial and orbital sensors<br />

that can be thought of as a single<br />

observational machine. This mechanism<br />

is the technological and physical site<br />

of the project: CELSA N<br />

, a network<br />

of experimentational nodes no bigger<br />

than inter-modal shipping containers.<br />

The CELSS (Controlled Ecological<br />

Life-Support System), an artificial living<br />

system whose__ inputs and outputs<br />

are strictly__<br />

_controlled,<br />

grants __ _<br />

the ability to<br />

construct<br />

and monitor<br />

complex__<br />

systems<br />

while___<br />

theoretically<br />

being able__<br />

__to account<br />

for every molecule. Life-support systems<br />

arose from the same historical moment as<br />

rockets- the very technology that localized<br />

Earth and birthed the notion of ecology.<br />

As such, CELSA N<br />

must follow in the<br />

wake of projects such as Biosphere<br />

2 (1991-94). Where B2 was an allencompassing<br />

Earth analog, CELSA N<br />

is a network of micro-architectures that<br />

become through replication, variation and<br />

control, a more powerful scientific tool.<br />

In addition to its technological legacy,<br />

Biosphere 2 was also of cultural<br />

significance; receiving scrutinizing<br />

attention from the skeptical public<br />

media. As a diffused Biosphere 2,<br />

the project avoids the singular media<br />

attention that felled the former;<br />

instead localizing itself via the shipping<br />

container into the "global vernacular."


CELSA N<br />

CONTAINED ECOLOGICAL LIFE-SUPPORT ARCHITECTURE<br />

TOWARDS A NOOSPHERE<br />

NOOSPHERE


CELSA N<br />

is a micro-architecture.<br />

NOOSPHERE - 004


Fitting neatly within the bounds of a 8'W x 9'6"H x 45' L inter-modal shipping container, CELSA nodes<br />

plug<br />

into a global shipping infrastructure comprised of ships, planes, trains, trucks and, soon, rockets.<br />

NOOSPHERE - 005


INTER-MODAL CONTAINER<br />

FEMALE CONNECTIONS<br />

ECLSS (LIFE SUPPORT)<br />

LAVATORY<br />

INTERIOR AIRLOCK DOOR DOOR<br />

(PROPRIETARY)<br />

AIRLOCK<br />

ANDROGYNOUS BERTHING PORT PORT<br />

NOOSPHERE - 006


HORIZON-FACING WINDOWS<br />

EARTH-FACING WINDOWS<br />

RIBBED MONOLITHIC<br />

ALUMINUM SHELL<br />

COCKPIT, CONTROL ROOM<br />

STRUCTURAL ALUMINUM<br />

DIAPHRAM WALLS<br />

STRUCTURAL CORE<br />

(FASTENS EXPANDABLE VOLUME<br />

TO SHELL STRUCTURE)<br />

EXPANDABLE VOLUME<br />

(DEPLOYS IN ORBIT)<br />

INTERMEDIATE DIAPHRAM<br />

Packed tightly within is an Earth-Space hybrid architecture without precedent.<br />

NOOSPHERE - 007


SATELLITES +<br />

SATELLITES +<br />

STATIONS<br />

STATIONS<br />

NNOOO<br />

https://vimeo.com/<br />

134092378<br />

PROBES PROBES + +<br />

PLANETARY PLANETARY<br />

BASES BASES<br />

DATA<br />

DATA<br />

ON<br />

ON<br />

EXTRATERRESTRIAL<br />

EXTRATERRESTRIAL<br />

ENVIRONMENT<br />

ENVIRONMENT<br />

CELSA N<br />

's "info-spatial site" is one of research on the planetary subject on an supra-planetary scale - a<br />

marriage of orbital mechanics and remote sensing that births cosmic tethers of information.<br />

NOOSPHERE - 008


DATA ON<br />

DATA ON<br />

TERRESTRIAL<br />

TERRESTRIAL<br />

ENVIRONMENT<br />

ENVIRONMENT<br />

TERRESTRIAL<br />

TERRESTRIAL<br />

RESEARCH RESEARCH<br />

OSSPPHHEERRIIC C UUNNDDEERRSSTTAANNDDIINNGG<br />

NOOSPHERE - 009


EDGE OVERLAPS<br />

POTENTIAL SITES<br />

URBAN EDGES<br />

FOREST EDGES<br />

URBANIZED(red) & FORESTED(black)<br />

CAMPINAS<br />

CAMPINAS-SÃO PAULO<br />

SOUTH EAST BRASIL<br />

SÃO PAULO STATE<br />

CELSA N<br />

takes Brazil as its pilot nation. Brazil is a major emerging economy with a vast territory of<br />

threatened ecologies in need of management, mapping and controlled experimentation. Ecological edges, such as<br />

urban-forest borders, present the most observational and experimentational potential.<br />

NOOSPHERE - 010


CHOICE CHOICE OF OF SITE: SITE: 22°57'17.97"S, 47°19'6.36"W<br />

Via a computational analysis of satellite imagery, locales in Greater Campinas of particular interest have been<br />

selected. Initially, a CELSA NODE<br />

is massed as two stacked structures. The lower volume is a living and research<br />

space manned by one local expert. The upper volume is a space-deployable life-support and science module.<br />

NOOSPHERE - 011


For the first phase of its life, a CELSA NODE<br />

hosts a rotation of "econauts" serving 30-day missions as the human<br />

link in a compact artificial ecosystem. The contribution of various organisms as links in the system is the subject<br />

of research. While alone, econauts maintain open information channels with each other across the cosmos.<br />

NOOSPHERE - 012


https://vimeo.com/<br />

134094919<br />

CELSA NODES<br />

, being easily moved, may "walk" as research enzymes along the metabolic fabric.<br />

NOOSPHERE - 013


As the knowledge base builds and successful schema are found, the upper volume re-enters the global<br />

transportation network en route to Brazil's Alcantara Launch Center, where it can be launched into orbit.<br />

The above logarithmic scale drawing illustrates the extent of the network.<br />

NOOSPHERE - 014


https://vimeo.com/<br />

135579952<br />

Once deployed into orbit, CELSA NODES<br />

are tested until the system, closed to all matter, reaches EOL (end of<br />

life). As on land, the success of a particular variant will be determined by its stability, longevity and human-support<br />

capability.<br />

NOOSPHERE - 015


NOOSPHERE - 016


In orbit, factors like radiation and micro-gravity will change the system's behavior. Active CELSA NODES<br />

on<br />

the ground will provide data on their site and interior "circular economies" as their orbital siblings, observing<br />

the Earth, do the same.<br />

NOOSPHERE - 017


8019<br />

8019<br />

MINISTERIO DA CIÊNCIA MINISTERIO E TECNOLOGIA DA CIÊNCIA E TECNOLOGIA<br />

MINISTÉRIO DA CIÊNCIA MINISTÉRIO E TECNOLOGIA DA CIÊNCIA E TECNOLOGIA<br />

8019<br />

8019<br />

MINISTÉRIO DA CIÊNCIA E TECNOLOGIA<br />

AGÊNCIA ESPACIAL BRASILEIRIA<br />

MINISTÉRIO DA CIÊNCIA E TECNOLOGIA<br />

AGÊNCIA ESPACIAL BRASILEIRIA<br />

CELSA<br />

CELSA<br />

N<br />

N<br />

8019<br />

8019<br />

AGÊNCIA ESPACIAL AGÊNCIA BRASILEIRIA<br />

ESPACIAL BRASILEIRIA<br />

CELSA<br />

N<br />

N<br />

8019<br />

8019<br />

8019<br />

8019<br />

AGÊNCIA AGÊNCIA ESPACIAL BRASILEIRIA<br />

ESPACIAL BRASILEIRIA<br />

CELSA<br />

N<br />

N<br />

8019<br />

8019<br />

By occupying both territories, the power of the experiment increases dramatically. CELSA NODES<br />

are designed to<br />

be manned and aggregated once variations are space-tested.<br />

NOOSPHERE - 018


MINISTÉRIO DA CIÊNCIA MINISTÉRIO E TECNOLOGIA DA CIÊNCIA E TECNOLOGIA<br />

N N<br />

8019CELSA 8019 8019<br />

AGÊNCIA AGÊNCIA ESPACIAL BRASILEIRIA<br />

ESPACIAL BRASILEIRIA<br />

If each node represents "1 unit" volumetrically, the needs of a 10 unit space habitat could be extrapolated from<br />

CELSA N<br />

data.<br />

NOOSPHERE - 019


NOOSPHERE - 020


https://vimeo.com/<br />

115072801<br />

The mechanical interior of the rectangular container is juxtaposed with the openness of the expandable volume.<br />

Inside, flexible poles aid astronaut movement in micro-gravity. A sleeping "womb" offers the confinement<br />

astronauts prefer and doubles as an emergency radiation shelter.<br />

NOOSPHERE - 021


The wall of the expanding section, consisting of redundant insulation, pressure and ballistic membranes, is<br />

filled partly with pure water: a vital reservoir as well as one of the best known radiation shields.<br />

NOOSPHERE - 022


NOOSPHERE - 023


NOOSPHERE - 024


The expanding portion of a CELSA NODE<br />

triples the volume of the space, accommodating a full-time crew of<br />

two or a part-time crew of three astronauts. Proportionally large solar arrays capture unfiltered solar energy<br />

for power.<br />

NOOSPHERE - 025


As an experiment in world-generation, the author assembled two proto-nodes. Sealed off with water and<br />

daily indirect sunlight, a system consisting of Ecovative’s eco-foam, moss and lab-quality fungal spores was<br />

tasked with falling into an equilibrium. Initially the moss faded away to a brown color and the system<br />

NOOSPHERE - 026


ecame a fuzzy world of fungi. However, the moss was resilient enough to survive to a time when the CO 2<br />

levels rose via the fungus’s metabolic processes. After a few weeks, green sprouted in the moss (left), month<br />

later, the fungus is on the decline as the moss grows back. Closure: 12-22-14 - present.<br />

NOOSPHERE - 027


ARCHITECTONIC<br />

PERSONAL DRAWING CONTRIBUTIONS TO TECHNOLOGY<br />

SEQUENCE DESIGNS<br />

SYSTEM


CANAL PLASTICS: Project for a floating bridge whose weighted underwater structure allows<br />

for automatic sea-level adjustment along a buoy-cable-weight matrix [Design team: Laura M. Peterson,<br />

Damaskene Danaë Vokolos, the author]<br />

SYSTEM - 030


welded joining plate<br />

creates separation needed<br />

for hanger and LED fixture<br />

power cable<br />

apertures<br />

5/8” steel hanger cable<br />

ties into waffle slab above<br />

power<br />

aperture<br />

&<br />

construction<br />

handle<br />

3/16” sheet metal<br />

2” honeycomb composite<br />

3/16” sheet metal<br />

2-way floor<br />

panel sandwich<br />

hanger connection<br />

LED fixture<br />

PRE-FABRICATED RIGID FLOOR STRUCTURE<br />

Welded aluminum C-channel frame<br />

with joining plates welded<br />

with apertures for power supply<br />

bolted together to effectively<br />

make a spliced beam network<br />

Sheer bracket<br />

(top and bottom)<br />

corner condition. no hanger<br />

Connected to primary concrete structure at beams<br />

two-way “T” connection.<br />

hanger optional.<br />

half-size floor<br />

unit bridges across<br />

beam’s dimension<br />

four-way “cruciform”<br />

connection with hanger<br />

three-way “cruciform”<br />

connection with hanger.<br />

SPACE DREAMERS: Industrial re-use building with double-height robust waffle slab alternating<br />

with a lightweight unitized, hung secondary floor. [Design team: Lingyuan Jiang, Chenyu Pu, Damaskene<br />

Danaë Vokolos, Mengxing Wang, the author]<br />

SYSTEM - 031


2x actual<br />

80’-2”<br />

ROOF SLAB<br />

51’-8”<br />

FOURTH FL<br />

23’-0”<br />

SECOND FL<br />

-25’-8”<br />

SUB-CELLAR<br />

outside air<br />

mer 2<br />

AH-3<br />

OA for<br />

AH-4<br />

124’-8”<br />

T.O. PARAPET<br />

CH-1<br />

air-cooled chiller<br />

with ch. w. pump chamber<br />

AH-4<br />

serve 2,3,<br />

4 & 5 fl<br />

110’-10”<br />

T.O. PARAPET<br />

107’-10”<br />

MECHANICAL ROOF<br />

RF-1<br />

return fan<br />

95’-4”<br />

WATER TANKS<br />

91’-4”<br />

MECH PENTHOUSE 2<br />

exhaust<br />

air<br />

66’-0”<br />

FIFTH FL<br />

37’-4”<br />

THIRD FL<br />

outside<br />

air<br />

smoke/<br />

make-up<br />

air<br />

AH-2<br />

oa for AH-1<br />

& FC-units<br />

FC-4<br />

serve library<br />

AH-1<br />

serve g fl & mezz<br />

FC-1<br />

serve office<br />

FC-3<br />

serve<br />

classroom<br />

FC-5<br />

serve office<br />

FC-2<br />

serve auditorium<br />

11’-4”<br />

MEZZANINE<br />

0’-0”<br />

FIRST FL<br />

-13’-4”<br />

CELLAR<br />

AMERICAN FOLK ART MUSEUM: Two depictions of the HVAC system. Modeled into 3D from<br />

construction documents. Elongated 3-D for clarity, above.<br />

SYSTEM - 032


ah-1<br />

ah-2<br />

ah-4<br />

ah-3<br />

CH-1<br />

make-up water<br />

AS-1<br />

P1<br />

P2<br />

water<br />

h<br />

e<br />

a<br />

t<br />

e<br />

x<br />

c<br />

h<br />

a<br />

n<br />

g<br />

e<br />

evaporate<br />

expansion<br />

valve<br />

ammonia<br />

air-cooled<br />

condensor<br />

compressor<br />

outside air<br />

mer 2<br />

smoke purge<br />

pre-fil<br />

h coil<br />

c coil<br />

oh<br />

rf-1<br />

outside air<br />

mez<br />

pre-fil<br />

final-fil<br />

h coil<br />

c coil<br />

return air<br />

pre-fil<br />

h coil<br />

c coil<br />

oh<br />

from<br />

domestic<br />

c.w.<br />

condensate<br />

cooler<br />

cr-1<br />

FC-4<br />

pre-fil<br />

h coil<br />

filter<br />

h coil<br />

c coil<br />

oh<br />

c coil<br />

5th fl<br />

4th fl<br />

3rd fl<br />

2nd fl<br />

mezzanine<br />

ground fl<br />

smoke/<br />

make-up<br />

air<br />

to sump pit<br />

cellar<br />

FC-1<br />

filter<br />

elec.h<br />

c coil<br />

serve office<br />

sub-cellar<br />

steam prv.<br />

FC-3<br />

filter<br />

h coil<br />

c coil<br />

serve class-room<br />

FC-5<br />

FC-2<br />

filter<br />

h coil<br />

c coil<br />

serve auditorium<br />

filter<br />

con edison steam<br />

h coil<br />

c coil<br />

serve gift-shop<br />

...And a reinvented HVAC schematic using a novel system of line types standing for different fluids such as<br />

steam, water, and air. [Group: James N. Quick, Jack D. Schonewolf, Damaskene Danaë Vokolos, author]<br />

SYSTEM - 033


KEEP IT REVEAL: Design for a 40'x128' curtain wall for an infill building in New York City. The<br />

overall composition consists of eight regular grids combined into a single irregular grid. Each glazing unit has<br />

raw paper of differing colors embedded within. The major challenge was achieving a "sheering off " appearance<br />

SYSTEM - 034


within a single mullion as parts of the facade angle away. Additionally, it was an experiment in the representation<br />

of details using color. [Sole author]<br />

SYSTEM - 035


Over-Under is a subversive architectural<br />

model for the inter-infiltration of<br />

banker agendas and public agency.<br />

Starting with the cliché spaces of a “park” and a<br />

“bank”, Over-Under intensifies the inherent social<br />

and spatial contradiction of a forced hybrid in<br />

order to subvert banker agendas. The architecture<br />

can be described as a multi-story park which<br />

builds up from street level, around an elevator<br />

core, until it becomes coplanar with the adjacent<br />

roof-top. Lying within each of the park’s levels is<br />

bank program. The inner world of the bank is a<br />

glossy, corporate grid where bankers dwell and<br />

"perform banking", which ranges from writing<br />

code, to wining ‘n dining park-goers. From the<br />

outside, the bank loses this reading entirely;<br />

instead it reads as a piece of public infrastructure.<br />

To lure the bank client into Brooklyn’s Fulton<br />

Mall, Over-Under offers potential benefits<br />

to the bank such as the opportunity for<br />

observation that a “park” might offer. The new<br />

bankers, freed from traditional bank jobs by<br />

automation, may leave their gridded interior<br />

in order to seduce and befriend the public.<br />

Yet, the bank’s true relationship to the space<br />

of assembly is fresh in the collective memory.<br />

Public space is the space a banker sees as both<br />

threat and opportunity. The architecture aims<br />

to be a social interface where bankers and public<br />

may engage each other agonistically; where<br />

the bank is placed into the realm of public<br />

space but never guaranteed the upper hand.<br />

The resulting multi-level stage hosts a<br />

game of thirsty capitalists vs. easy victims<br />

or the privileged few vs. the critical mass.<br />

Over-Under is only in true service of the<br />

unpredictable, uncontrollable and irreversible<br />

consequences of actions taken freely in public<br />

space.


OVER-UNDER<br />

BANKING IN PUBLIC SPACE<br />

AGONISM


anker’s<br />

lair<br />

banker civilian stealth<br />

circulatio<br />

AGONISM - 038


ivilian<br />

stealth<br />

circulation<br />

common<br />

circulation<br />

banking<br />

Bankers and civilians engage in an empty chase through positive and negative architectural spaces. Based on the<br />

plan of Hasbro's Game of Life (1960)<br />

AGONISM - 039


01010<br />

10101<br />

00111<br />

11001<br />

01010<br />

10101<br />

00111<br />

11001<br />

AGONISM - 040


****<br />

Over and under the architecture, the two parties play out their game. Civilians may be seduced into bank spaces<br />

while bankers' efforts may be futile out in the open. By empowering the people and subverting the bankers,<br />

the game is finally fair.<br />

AGONISM - 041


Outside: a weathered structure bears little evidence of banking within.<br />

AGONISM - 042


Inside: banking operating in the glossy, corporate grid world.<br />

AGONISM - 043


The private under-world of the bankers (above) and the public over-world (next spread) of the masses paint a<br />

site map.<br />

AGONISM - 044


The banker, freed from traditional duties by automation, mobilizes through existing transportation<br />

infrastructure.<br />

AGONISM - 045


The private under-world of the bankers (previous spread) and the public over-world of the masses (above)<br />

paint a site map.<br />

AGONISM - 046


Using the same architecture the public multiplies its domain via rooftops.<br />

AGONISM - 047


AGONISM - 048


A banker slips into the space of the civilian where his/her body creates architectural effects.<br />

AGONISM - 049


AGONISM - 050


Plan x-ray reveals a park pregnant with banking / a bank over-taken by a public space.<br />

AGONISM - 051


+4'4"<br />

UNDER<br />

GROUND<br />

-9'5"<br />

Past the computer servers in the basement, bankers may access Brooklyn's nearby DeKalb Station, connecting<br />

them to miles of social-professional networks.<br />

AGONISM - 052


+16'0"<br />

At street level, a sloped plaza conceals a basement mezzanine and welcomes civilians onto the structure.<br />

AGONISM - 053


+33'5"<br />

+24'8"<br />

Above the first floor of bank program (bottom), a suspiciously "swollen" park<br />

AGONISM - 054


ROOFTOP<br />

+49'9"<br />

+40'0"<br />

Atop the final bank space sits the beginning of public roof-top access.<br />

AGONISM - 055


The bank at daytime, dusk and night.<br />

AGONISM - 056


Contrary to the disingenuous branding of banks as glazed and transparent, Over-Under is imagined as a<br />

weathered, public structure.<br />

AGONISM - 057


SUPERSTUDIO, LA PRIMA CITTA<br />

Bay Ridge<br />

Fort<br />

Hamilton<br />

Red<br />

Hook<br />

Sunset Park<br />

Dyker<br />

Heights<br />

DUMBO<br />

Navy<br />

Yard<br />

Brooklyn Downtown<br />

Heights Brooklyn Clinton<br />

Hill<br />

Cobble Boerum Fort<br />

Hill Hill Greene<br />

Carroll<br />

Gardens<br />

Borough<br />

Park<br />

Bensonhurst<br />

Bath<br />

Beach<br />

Sea<br />

Gate<br />

Prospect<br />

Heights<br />

Gowanus Park<br />

Slope<br />

Windsor<br />

Terrace<br />

Gravesend<br />

Coney<br />

Island<br />

Flatbush<br />

Midwood<br />

Brighton<br />

Beach<br />

Greenpoint<br />

Williamsburg<br />

Sheepshead<br />

Bay<br />

Bedford-<br />

Stuyvesant<br />

Crown<br />

Heights<br />

East<br />

Flatbush<br />

Marine<br />

Park<br />

Manhattan<br />

Beach<br />

Flatlands<br />

Gerritson<br />

Beach<br />

Bushwick<br />

Brownsville<br />

Bergen<br />

Beach<br />

Mill<br />

Basin<br />

Canarsie<br />

East<br />

New York<br />

1967 CANDILIIS-JOVIC-WOODS’ FREE UNIVERITY, 1964-74<br />

[1] Can you still remember when<br />

you were a child? [2] Are you<br />

having children? [3] How are<br />

new neighborhoods being born?<br />

[4] Who designs the invisible?<br />

[5] And if what you are demonstrating<br />

were not true? [6] What<br />

if all this work made no sense?<br />

[7] Have you ever spent an<br />

entire afternoon pitting yourself<br />

against a very stupid video<br />

game (like solitaire or minesweeper)?<br />

[8] Afterwards, did<br />

you feel you had become a little<br />

like a machine? [9] And in your<br />

opinion, if a man spends all day<br />

putting bottLes in crates, how<br />

does he feel afterwards? [10]<br />

When you design, do you try to<br />

improve man's situation? [11] Or<br />

do you make it worse? [12] Do<br />

you really care' about this man?<br />

[13] After an afternoon spent<br />

programming, and if everything<br />

works, some people feel they<br />

have internalised the machine.<br />

And they feel good. When you<br />

are designing, do you also think<br />

about this kind of person? [14]<br />

Have you ever had to face a<br />

Macintosh or PC fundamentalist?<br />

Or a Linux prophet? [15]<br />

Are they fussy people, obsessed<br />

with trivial matters? [16] And<br />

what about the fundamentalists<br />

of the city? [17 ] Who are the<br />

fundamentalists of the city and<br />

territory? Perhaps the ecologists?<br />

[18] From an architect's<br />

viewpoint, what is the relationship<br />

between the city and<br />

death? [18] Hospital, mortuary,<br />

cemetery. In cities of mutation,<br />

where are the other places of<br />

death? [19] Have you ever<br />

been surprised to realise how<br />

close you live to a strategic<br />

target, such as an airport, a<br />

telephone exchange, radar facilities<br />

or a refinery? [20] Is the<br />

ideal city one that has no targets?<br />

[21] In terms of technological<br />

imagination, what will<br />

happen now? [22] If technology<br />

can no longer be used to<br />

build taller and taller skyscrapers,<br />

if there is no longer a special<br />

reason for returning to the<br />

moon, what do we need technology<br />

for now? [23] In order<br />

to build the Brooklyn of the<br />

future, which is more important,<br />

high technology or surrealism?<br />

[24] Which places do you never<br />

go to? [25] Have you ever used<br />

a gun? [26] Have you ever reflected<br />

on the fact that the kalashnikov<br />

was designed in 1947 and is<br />

one of the most astounding examples<br />

of technological longevity?<br />

[27] From a technological point of<br />

view, how can you transfer the<br />

qualities of a kalashnikov (or of the<br />

Vespa by Corradino d'Ascanio) to<br />

a building or a piece of a city?<br />

[28] The Colt 1911 calibre 4S was<br />

designed in 1911. It continues to be<br />

used and produced. Why didn't we<br />

study it in school? [29] Was it a<br />

modern object in 1911 or is it an<br />

example of inertia today? It is possible<br />

to create and produce arms<br />

that are more accurate than the<br />

kalashnikov or the Colt 191 1. However,<br />

it appears that it is not<br />

worthwhile, because the real limitation<br />

now is the accuracy of the<br />

shooter under stress. Can an analogy<br />

be made with the design of an<br />

area? [30] The word "shopping" IS<br />

everywhere. Now if your culture is<br />

one of consumption, what are you<br />

saying that's new? [31] How many<br />

times have you entered a<br />

sex-shop? [32] What did you buy?<br />

[33] How would you react if there<br />

were a blackout? [34] Try and imagine<br />

the city, the territory, and the<br />

world in which we live without<br />

electrical energy. What would be<br />

the main changes? [35] With an<br />

energy blackout, what parts of the<br />

city would not change? [36] The<br />

central business district would<br />

probably shut down. And the shantytowns?<br />

[37] Could the bicycle<br />

be an effective solution to traffic<br />

problems? [38] Why are many<br />

people obsessed with bicycles, cycling<br />

tracks/and covered parking<br />

for bicycles? [39] Alternative<br />

sources of energy (solar, geothermic,<br />

wind...) are niche technologies.<br />

The reason offered is the<br />

high cost per kilowatt and, subordinate<br />

to that, the scarce supply.<br />

Are there perhaps other reasons<br />

that are not offered? [40] Have<br />

you ever lived in a place with no<br />

artificial light or heat for a period of<br />

time? [41] Do your cities provide<br />

such places? Or are these places<br />

necessarily a capital loss? [42] Is<br />

the terrorist a citizen of the city of<br />

mutations? [43] Where does the<br />

terrorist live? [44] Is his house like<br />

ours? [45] Now is it better to see<br />

heroes from a distance in time and<br />

space? [46] And the heroes of<br />

design? [47] Is science fiction<br />

second-rate literature or a special<br />

tool for grasping reality transformations?<br />

[48] Borders, however much<br />

we wish to cancel them, are useful<br />

and even more so if you want to<br />

maintain variety and diversity. How<br />

do you propose countering homogeneity<br />

in a territory with no borders?<br />

[49] Is there still space for utopia?<br />

[50] Is there a potential and real<br />

possibility of going beyond the capitalist<br />

system? [51] Communism was<br />

a structured project; capitalism on<br />

the other hand is a process. Communism<br />

is in pieces while capitalism<br />

prospers. As designers, what are the<br />

implications of this? [52] On the<br />

march to Utopia, inevitably someone's<br />

toes are trod on. If that someone<br />

is powerful, he will send an<br />

army (or a multi-national or an arrest<br />

warrant) against us. If he is not<br />

powerful, perhaps he will become a<br />

terrorist. Can you suggest some<br />

strategies to avoid this process? [53]<br />

Where is desire in Brooklyn, the city<br />

of mutations From the American<br />

viewpoint, desire is the motive for<br />

everything. Buddhist doctrine reminds<br />

us that it is the downfall of<br />

man. Where do you stand? [54] To<br />

what point do you design the city?<br />

[55] For how long? [56] Would you<br />

leave space for those who do not<br />

want to mix? [57] How much space<br />

would you leave? [58] In an era of<br />

indiscriminate mutations, the body is<br />

the first place of experimentation:<br />

how many of you have tattoos? How<br />

many of you have a piercing? [59]<br />

Would it make sense to tattoo a<br />

building? [60] Do you show the<br />

scars that life has given you? [61] If<br />

you have none, what kind of life do<br />

you lead? [62] Are you boring<br />

people? [62]What are the most fascinating<br />

scars of the city? [63] With<br />

what criteria do you measure the<br />

wealth of Brooklyn? [64] Do you<br />

always know how much money you<br />

have in your pocket? [65] Do you<br />

check your credit ca rd statement?<br />

[66] o you rent or own the house<br />

you live in? [67] Do you have<br />

money invested in the Stock Exchange?<br />

[68] Is your current account<br />

often in the red? [69] What is<br />

the maximum overdraft amount your<br />

bank allows you? [70] Freud explained<br />

that humans act according to<br />

two main impulses. The fundamental<br />

reason we do things is sex and<br />

fame. In personal terms, is an exhibition<br />

such as this one held to<br />

become famous or to take the girl<br />

(or boy) of your dreams to bed? [71]<br />

Could Freud have been wrong? [72]<br />

If this is the case, then must we discard<br />

all subsequent psychoanalysis?<br />

[73] Psychoanalysis is another large<br />

area missing from your work. Is<br />

there a connection between the deep<br />

(or superficial) mechanisms of our<br />

minds and the territorial shapes of<br />

contemporary society? [74] What<br />

theory are you developing? [75]<br />

Whose life are you upsetting in the<br />

process? [76] The cities of the East<br />

smell of food and Western metropolises<br />

smell of inorganic gas. If you<br />

were to imagine the the future<br />

Brooklyn, what odours would dominate?<br />

[77] Where did the petrol<br />

smell of your work finish up? [78]<br />

What dreams do you have? [79]<br />

What dreams do cities have? [80]<br />

Immigrants arriving in New York are<br />

captivated by the advertising shown<br />

on our streets. They leave up to<br />

their neck in debt, arrive here and<br />

within a few hours they become<br />

someone's slave. What dreams do<br />

these people have? [81]Why do<br />

some building sites never seem to<br />

finish their work? [82] Why do<br />

some building sites never seem to<br />

start work? [83] The day the New<br />

York Twin Towers were destroyed,<br />

one of the most prestigious architecture<br />

journals in the world was on<br />

sale with the issue dedicated to the<br />

skyscraper seen as a model city of<br />

the future. Every now and then there<br />

is a bizarre short circuit between the<br />

real world and the restricted horizons<br />

of a discipline. The images of the<br />

Manhattan skyline with smoke from<br />

the explosion and destruction of the<br />

WTC looked very much like some<br />

scenes in Blue Thunder. When we<br />

saw the film at the cinema though,<br />

we believed it was science fiction.<br />

What other science-fiction film could<br />

become a reality in New York in the<br />

near future? [84]Do you agree with<br />

the statement that the attack on the<br />

Twin Towers signalled the victory of<br />

normality over technology? [85] It<br />

would seem that low technology is<br />

beating high technology: the small<br />

china knife is able to conquer the<br />

most advanced security systems.<br />

What lesson can the architect and<br />

the urban planner extract from all<br />

this? [86] Do you own a computer?<br />

[87] What type of computer is it?<br />

[88] How many years (or months)<br />

ago did you purchase it? [89] Do<br />

you use it? [90] Did you choose<br />

your computer thinking about your<br />

look also? [91] Is the type of<br />

computer you use important for<br />

the people around you? [92] The<br />

Apple 1 had a wooden cabinet.<br />

Does the computer exterior need<br />

to be plastic or metal? [93] And<br />

what if I had a computer with a<br />

permanent outer part and interchangeable<br />

innards? [94] Do<br />

you have an e-mail address? If I<br />

write to your e-mail address, do<br />

you at least see the subject of<br />

the message or is it discarded<br />

first? [95] If you happen to read<br />

the message, will you reply?<br />

What do you do with e-mails you<br />

don't keep? For how long do you<br />

keep the e-mails sent to you?<br />

[96] Do you know that within 10<br />

years perhaps, your CDs will no<br />

longer be readable? [97] Is the<br />

city of the future in black and<br />

white or in colour? [98] When<br />

people ask you a stupid question,<br />

do you show your irritation?<br />

[99] In your opinion, is "to preserve"<br />

a value or a disvalue?<br />

[100] Why do we all live in commonplace<br />

bourgeois homes?<br />

Where do the citizens of the new<br />

Brooklyn (really) live? [101] How<br />

many of you feel like citizens of<br />

the mutations? [102] There are<br />

those who compare the present<br />

moment in Western society to the<br />

fall of the Roman Empire when<br />

the strong and hungry barbarians<br />

were advancing as winners and<br />

the intoxicated Romans inside<br />

the city walls were pursuing their<br />

hedonism behind idle speculations.<br />

If this comparison can be<br />

sustained, do you feel Roman or<br />

barbarian? [103]I s it possible<br />

to collaborate with the barbarians?<br />

[104] The Mongols arrive in<br />

China and want to destroy<br />

everything. After a while however,<br />

they end up making a contribution<br />

to China. Who are our<br />

Mongols? [105] How much does<br />

the fantastic imagination of comic<br />

strip artists such as Moebius and<br />

Katsuhiro Otomo influence the<br />

design of the city of the future?[106]<br />

What would happen if<br />

Godzilla, assisted by UFOs, attacked<br />

your city? [107] Will the<br />

future of Brooklyn be horizontal<br />

or vertical? [108] And if it were<br />

slanting? [109] Is this work journalism<br />

or research? [110] Are<br />

you comfortable with uncertainty?<br />

[111] Was Brooklyn ever certain?<br />

ATLANTIC OCEAN<br />

AGONISM - 058


BANK CORP<br />

GENERIC MEGA BANK SKYSCRAPER<br />

1960’s-PRESENT<br />

SVALBARD GOLBAL SEED VAULT<br />

2007<br />

Precedent study exhibits.<br />

AGONISM - 059


Moments of mental reflection and physical<br />

release, as experienced on the toilet, are<br />

increasingly valuable because of their<br />

increasing scarcity. As simple as an awareness<br />

of one’s bodily processes, or as profound as<br />

one’s place in the cosmos, toilet moments<br />

can be important and<br />

can be affected by<br />

architecture.<br />

The creation<br />

_ o f<br />

a secular__<br />

_sacred<br />

space is the<br />

_creation<br />

of an auto-<br />

monument:<br />

free of content, liberated from context and<br />

becoming something other - an object<br />

inviting interest, approach, and entrance.<br />

Aggregated like cavities within a body<br />

(spatia), voids of hot air generated by<br />

fire slowly dry human waste into a<br />

handleable soil amendment. Immovable,<br />

smoldering, and silent, the ostensible<br />

monolith feeds heat exhaust into the sky.


BODY CAVITIES<br />

PHYSIO-SOPHICAL MICRO INFRASTRUCTURE<br />

SPATIA


SPATIA - 062


A moment of reflection and release in the metropolis.<br />

SPATIA - 063


Sections and plan axonometric reveal two spaces: one for defecation, another for urination. The former is a dark<br />

and silent world, the latter bright with the muffled sounds of New York City. The former connects to the furnace<br />

below, the latter leaches into the surrounding earth. Together they fill the apparent monolith.<br />

SPATIA - 064


SPATIA - 065


Oculus: an object for the contemplative gaze.<br />

SPATIA - 066


A procession into a monolithic structure is a process of discovering the unexpected:<br />

Object->opening->cavern->oculus.<br />

SPATIA - 067


SPATIA - 068


Modeling the voids (spatia) as solids (organs) is a way to visualize and redesign the architecture's inner<br />

workings.<br />

SPATIA - 069


The dilemma of coding is<br />

it shifts<br />

it shifts our<br />

it shifts our intellect<br />

it shifts our intellect into<br />

it shifts our intellect into a linear,<br />

irreplicable and irreversible string. It is a rigid process leading to something unknowable.<br />

The output throws us into a new kind of relationship with our work:<br />

one that is computational and incomprehensible.<br />

Are we surrendering our mental territory?<br />

If No:<br />

We are defining new questions and boundaries<br />

concerning the integration of processes.


myMONKEYWROTEHAMLETLASTNIGHT<br />

CODE AND POETRY IN 3 DIMENSIONS<br />

with Lorenzo Villaggi<br />

CODE


numberOfWords = rs.GetInteger("how many of each type of word", 3)<br />

sizeOfCube = rs.GetReal("how big is the container", 100)<br />

globalRadius = rs.GetReal("the size of the radius", 30.0)<br />

iterations = rs.GetInteger("how many times to move", 40)<br />

FF: 0.1<br />

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unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

jailbate<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

jailbate mhm<br />

unsophisticatedness a amid calender an teetotally headpiece yours coquets calender an yours teetotally lubricant but one off headpiece an yours teetotally by coquets yours teetotally by an coquets teetotally by an coquets by an coquets coquets an an one but<br />

jailbate mhm ourselves<br />

coquets<br />

stealthiest joggles<br />

teetotally<br />

but<br />

“The infinite monkey theorem states that a monkey hitting keys at random on a typewriter keyboard for<br />

an infinite amount of time will almost surely type any given text, such as the complete works of William<br />

Shakespeare.” [Source: https://en.wikipedia.org/wiki/Infinite_monkey_theorem]<br />

CODE - 072


hello<br />

hello off<br />

hello off lubricant<br />

hello off lubricant ourselves<br />

hello off lubricant ourselves an<br />

hello off lubricant ourselves an mhm<br />

hello off lubricant ourselves an mhm off<br />

hello off lubricant ourselves an mhm off ourselves<br />

hello off lubricant ourselves an mhm off ourselves jailbate<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate ourselves<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate ourselves an<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate ourselves an<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate ourselves an<br />

hello off lubricant ourselves an mhm off ourselves jailbate lubricant hello an mhm lubricant ourselves so hello mhm hello jailbate ourselves an<br />

sulfonation dirty sanchez<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the for<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the for along<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the for along cohabits<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the for along cohabits accursedly<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation dirty sanchez conditionally an anyone sulfonation for accursedly along striper striper conditionally conditionally<br />

sulfonation the for along cohabits accursedly anyone<br />

but<br />

oh<br />

along for<br />

along for cohabits<br />

along for cohabits the<br />

along for cohabits the accursedly<br />

along for cohabits the accursedly anyone<br />

along for cohabits the accursedly anyone the<br />

along for cohabits the accursedly anyone the accursedly<br />

along for cohabits the accursedly anyone the accursedly anyone<br />

along for cohabits the accursedly anyone the accursedly anyone accursedly anyone<br />

along for cohabits the accursedly anyone the accursedly anyone accursedly anyone anyone<br />

she<br />

the<br />

bedevils<br />

conditionally<br />

for<br />

for<br />

anyone<br />

the<br />

dirty sanchez<br />

sulfonation<br />

cohabits<br />

repressive<br />

accursedly<br />

unless<br />

ah<br />

from most<br />

most<br />

an<br />

striper<br />

################<br />

ff"0/5<br />

straightforwardness the<br />

straightforwardness the within ah<br />

but ourselves<br />

but ourselves so<br />

but ourselves so connote<br />

hello<br />

hello jailbate<br />

off<br />

ourselves<br />

a<br />

headpiece<br />

connote<br />

high-powered nor<br />

so<br />

mhm<br />

amid<br />

yours<br />

an<br />

jailbate<br />

calender<br />

joggles<br />

nor<br />

by<br />

one<br />

an<br />

lubricant<br />

###########<br />

FF:0.3<br />

differentiate the<br />

differentiate the but<br />

differentiate the but repressive<br />

differentiate the but repressive complimentary<br />

differentiate the but repressive complimentary oh<br />

differentiate the but repressive complimentary oh repressive<br />

differentiate the but repressive complimentary oh repressive oh<br />

differentiate the but repressive complimentary oh repressive oh complimentary<br />

differentiate the but repressive complimentary oh repressive oh complimentary oh<br />

complimentary<br />

complimentary oh<br />

temperately unlessah<br />

temperately unlessah for<br />

temperately unlessah for dirty sanchez<br />

temperately unlessah for dirty sanchez she<br />

temperately unlessah for dirty sanchez she bedevils conditionally<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

sulfonation<br />

temperately unlessah for dirty sanchez she bedevils conditionally dirty sanchez striper anyone accursedly an along the for<br />

straightforwardness the within ah since<br />

straightforwardness the within ah since and<br />

straightforwardness the within ah since and anybody<br />

straightforwardness the within ah since and anybody uhh<br />

straightforwardness the within ah since and anybody uhh burglarious<br />

straightforwardness the within ah since and anybody uhh burglarious the<br />

pull-ups someway all<br />

pull-ups someway all adductor<br />

pull-ups someway all adductor adductor<br />

sensitized felt<br />

riotously breakback<br />

riotously breakback versus<br />

uhh and<br />

uhh and anybody felatio<br />

uhh and anybody felatio ah<br />

uhh and anybody felatio ah since<br />

uhh and anybody felatio ah since well<br />

uhh and anybody felatio ah since wellfelatio<br />

uhh and anybody felatio ah since wellfelatio ah<br />

uhh and anybody felatio ah since wellfelatio ah ah<br />

uhh and anybody felatio ah since wellfelatio ah ah since<br />

uhh and anybody felatio ah since wellfelatio ah ah since burglarious since<br />

uhh and anybody felatio ah since wellfelatio ah ah since burglarious since the<br />

within<br />

the<br />

and<br />

well<br />

anybody<br />

the<br />

felatio<br />

adductor<br />

felt<br />

burglarious<br />

someway<br />

since<br />

ah<br />

versus<br />

all<br />

the<br />

breakback<br />

#####################<br />

ff: .7<br />

unties everyone<br />

unties everyone ah<br />

unties everyone ah his<br />

unties everyone ah his an<br />

unties everyone ah his an cercaria<br />

unties everyone ah his an cercaria between<br />

unties everyone ah his an cercaria between an<br />

unties everyone ah his an cercaria between an an<br />

unties everyone ah his an cercaria between an an his<br />

unties everyone ah his an cercaria between an an his between<br />

unties everyone ah his an cercaria between an an his between cercaria<br />

Excerpt: "Print", a 100 page booklet. "Print" is the code talking back in lines of text rather than 3D flocks.<br />

CODE - 073


import rhinoscriptsyntax as rs<br />

import random as r<br />

def CullDuplicates(seq, idfun=None):<br />

# order preserving<br />

if idfun is None:<br />

def idfun(x): return x<br />

seen = {}<br />

result = []<br />

for item in seq:<br />

marker = idfun(item)<br />

if marker in seen: continue<br />

seen[marker] = 1<br />

result.append(item)<br />

return result<br />

class wordParticle():<br />

def __init__(self, COORD, WORD, PARTOFSPEECH, RADIUS, FLOCKFACTOR):<br />

self.pos = COORD<br />

self.text = WORD<br />

self.type = PARTOFSPEECH<br />

self.radius = RADIUS<br />

self.factor = FLOCKFACTOR<br />

#self.id = rs.AddText (self.text,self.pos)<br />

self.id = rs.AddTextDot (self.text,self.pos)<br />

#self.pt = rs.AddPoint(self.pos)<br />

self.connectionIDs = []<br />

self.connectionIndexes = []<br />

self.vec = [0,0,0]<br />

rs.AddLayer(self.type)<br />

rs.ObjectLayer(self.id,self.type)<br />

def makeSense(self, myWords):<br />

localfactor = 1<br />

for i in range(len(myWords)):<br />

word = myWords[i]<br />

if word.text!=self.text:<br />

distance = rs.Distance(self.pos, word.pos)<br />

if distance 0:<br />

if self.type!=word.type:<br />

#########################################<br />

#ATTRACTION<br />

if self.type == "Noun" and word.type == "Verb":<br />

localfactor = 1<br />

if self.type == "Noun" and word.type == "Adverb":<br />

localfactor = 3<br />

if self.type == "Noun" and word.type == "Adjective":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "Pronoun":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "Conjunction":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "Interjection":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "xxx":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "Article":<br />

localfactor = 0.1<br />

if self.type == "Noun" and word.type == "Preposition":<br />

localfactor = 0.1<br />

if self.type == "Adverb" and word.type == "Adjective":<br />

The script, written in python and shown here in its entirety, worked by pulling words from extensive lists and<br />

attracting them to each other based on the frequency with which different parts of speech naturally occurred<br />

adjacent to each other.<br />

CODE - 074


localfactor = 1<br />

rs.filter.point +rs.filter.curve)<br />

if self.type == "Adverb" and word.type == "Pronoun":<br />

CaPt=rs.DivideCurve(cameraPath,iterations)<br />

localfactor = 0.1<br />

TaPt=rs.DivideCurve(targetPath,iterations)<br />

if self.type == "Adverb" and word.type == "Conjunction":<br />

########################################################<br />

localfactor = 0.1<br />

#Setup<br />

if self.type == "Adverb" and word.type == "Interjection":<br />

myWords = []<br />

localfactor = 0.1<br />

for i in range(numberOfWords):<br />

if self.type == "Adverb" and word.type == "xxx":<br />

localfactor = 0.1<br />

rnd = r.randint(0,len(Nouns) -1)<br />

if self.type == "Adverb" and word.type == "Article":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Adverb" and word.type == "Preposition":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

wordtext = Nouns[rnd].replace("\n", " ")<br />

if self.type == "Adjective" and word.type == "Verb":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Noun", globalRadius,<br />

localfactor = 0.1<br />

flockfactor))<br />

if self.type == "Adjective" and word.type == "Pronoun":<br />

localfactor = 0.1<br />

rnd = r.randint(0,len(Verbs ) -1)<br />

if self.type == "Adjective" and word.type == "Conjunction":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Adjective" and word.type == "Interjection":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

wordtext = Verbs[rnd].replace("\n", " ")<br />

if self.type == "Adjective" and word.type == "xxx":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Verb", globalRadius,<br />

localfactor = 0.1<br />

flockfactor))<br />

if self.type == "Adjective" and word.type == "Article":<br />

localfactor == 0.1<br />

rnd = r.randint(0,len(Adjectives) -1)<br />

if self.type == "Adjective" and word.type == "Preposition":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Verb" and word.type == "Pronoun":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 3.8<br />

wordtext = Adjectives[rnd].replace("\n", " ")<br />

if self.type == "Verb" and word.type == "Conjunction":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Adjective",<br />

localfactor = 3.5<br />

globalRadius, flockfactor))<br />

if self.type == "Verb" and word.type == "Interjection":<br />

localfactor = 0.1<br />

rnd = r.randint(0,len(Adverbs) -1)<br />

if self.type == "Verb" and word.type == "xxx":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Verb" and word.type == "Article":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor == 0.1<br />

wordtext = Adverbs[rnd].replace("\n", " ")<br />

if self.type == "Verb" and word.type == "Preposition":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Adverb", globalRadius,<br />

localfactor == 0.1<br />

flockfactor))<br />

if self.type == "Pronoun" and word.type == "Conjunction":<br />

localfactor = 0.1<br />

rnd = r.randint(0,len(Conjunctions) -1)<br />

if self.type == "Pronoun" and word.type == "Interjection":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 4<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Pronoun" and word.type == "xxx":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

wordtext = Conjunctions[rnd].replace("\n", " ")<br />

if self.type == "Pronoun" and word.type == "Article":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Conjunction",<br />

localfactor == 0.1<br />

globalRadius, flockfactor))<br />

if self.type == "Pronoun" and word.type == "Preposition":<br />

localfactor == 0.1<br />

rnd = r.randint(0,len(Interjections) -1)<br />

if self.type == "Conjuntion" and word.type == "Interjection":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Conjuntion" and word.type == "xxx":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

wordtext = Interjections[rnd].replace("\n", " ")<br />

if self.type == "Conjuntion" and word.type == "Article":<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Interjection",<br />

localfactor == 0.1<br />

globalRadius, flockfactor))<br />

if self.type == "Conjunction" and word.type == "Preposition":<br />

localfactor == 0.1<br />

rnd = r.randint(0,len(Prepositions) -1)<br />

if self.type == "Interjection" and word.type == "xxx":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "Interjection" and word.type == "Article":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor == 0.1<br />

wordtext = Prepositions[rnd].replace("\n", " ")<br />

if self.type == "Interjection" and word.type == "Preposition": myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Preposition",<br />

localfactor == 0.1<br />

globalRadius, flockfactor))<br />

if self.type == "Article" and word.type == "xxx":<br />

localfactor = 0.1<br />

rnd = r.randint(0,len(Pronouns) -1)<br />

if self.type == "Article" and word.type == "Preposition":<br />

rndX = r.random()*sizeOfCube<br />

localfactor = 4<br />

rndY = r.random()*sizeOfCube<br />

if self.type == "xxx" and word.type == "Preposition":<br />

rndZ = r.random()*sizeOfCube<br />

localfactor = 0.1<br />

wordtext = Pronouns[rnd].replace("\n", " ")<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Pronoun", globalRadius,<br />

vec = rs.VectorCreate(word.pos, self.pos)<br />

flockfactor))<br />

vec = rs.VectorScale(vec, (self.factor/distance)*localfactor)<br />

self.vec = rs.VectorAdd(self.vec,vec)<br />

rnd = r.randint(0,len(Articles) -1)<br />

self.connectionIndexes.append(i)<br />

rndX = r.random()*sizeOfCube<br />

else:<br />

rndY = r.random()*sizeOfCube<br />

if i in self.connectionIndexes:<br />

rndZ = r.random()*sizeOfCube<br />

index = self.connectionIndexes.index(i)<br />

wordtext = Articles[rnd].replace("\n", " ")<br />

self.connectionIndexes.pop(index)<br />

myWords.append(wordParticle([rndX,rndY,rndZ],wordtext,"Article", globalRadius,<br />

self.move()<br />

flockfactor))<br />

#self.drawpoints()<br />

#run<br />

def move(self):<br />

for i in range(iterations):<br />

self.pos = rs.PointAdd(self.pos, self.vec)<br />

rs.EnableRedraw(False)<br />

rs.MoveObject(self.id, self.vec)<br />

for myWord in myWords:<br />

myWord.makeSense(myWords)<br />

def drawConnections(self, myWords):<br />

for myWord in myWords:<br />

self.connectionIndexes = CullDuplicates(self.connectionIndexes)<br />

rs.DeleteObjects(myWord.connectionIDs)<br />

self.connectionIDs = []<br />

myWord.drawConnections(myWords)<br />

for connection in self.connectionIndexes:<br />

rs.EnableRedraw(True)<br />

self.connectionIDs.append(rs.AddLine(self.pos, myWords[connection].pos))<br />

rs.ViewCameraTarget("Perspective",CaPt[i], TaPt[i])<br />

saveFrame(i, folder)<br />

def saveFrame(counter, folder):<br />

if counter


ah<br />

beyond<br />

a<br />

because<br />

should<br />

concerning<br />

dear<br />

by<br />

hey<br />

beyond<br />

for can should<br />

one-sidedly<br />

unless<br />

u<br />

hello<br />

ouch!<br />

ought to<br />

excepting<br />

well<br />

nor<br />

than<br />

for<br />

must<br />

although<br />

shall<br />

seamier<br />

If nouns occurred next to verbs more freaquently than they did to conjunctions, then they were given a higher<br />

attractive force. The output is played out in 3D "rhinospace'"as animated, flocking word groups.<br />

CODE - 076


despite<br />

round<br />

for<br />

wi l<br />

wi l<br />

from<br />

could<br />

hi<br />

uhh<br />

but<br />

to<br />

since<br />

can<br />

err<br />

hmm<br />

err<br />

and<br />

yet<br />

past<br />

he lo<br />

could<br />

nor<br />

between<br />

he lo<br />

superabundantly<br />

must<br />

before<br />

after<br />

because<br />

among<br />

mhm<br />

could<br />

eh<br />

because<br />

can<br />

around<br />

hey<br />

should<br />

although<br />

and<br />

beyond<br />

or<br />

alas<br />

sha l<br />

unless<br />

could<br />

uhh for<br />

so<br />

sha l<br />

between<br />

umm<br />

could<br />

amid<br />

by<br />

nor<br />

eccentrica ly<br />

than<br />

will<br />

oh<br />

nor<br />

as<br />

leftwardly<br />

but<br />

ah<br />

for<br />

along<br />

against<br />

tolerantly<br />

although<br />

alas<br />

stridently<br />

hey<br />

for might<br />

jitneys<br />

hi<br />

and<br />

nor<br />

wi l<br />

should<br />

would<br />

would<br />

mhm<br />

could<br />

alas<br />

aboard<br />

although<br />

backward<br />

since<br />

we l<br />

because must<br />

so<br />

festinately<br />

uh<br />

for<br />

save<br />

hi<br />

oh<br />

must<br />

towards<br />

might<br />

beyond<br />

an<br />

unless<br />

because<br />

should<br />

concerning<br />

dear<br />

by<br />

hey<br />

for can should<br />

beyond one-sidedly<br />

unless<br />

hi<br />

one<br />

could<br />

must<br />

dear<br />

wi l<br />

above<br />

nor<br />

up<br />

ouch!<br />

nor<br />

than<br />

for<br />

he lo<br />

ought to<br />

must<br />

excepting<br />

we l<br />

although<br />

seamier<br />

ah<br />

sha l<br />

a<br />

although<br />

towards<br />

because<br />

toward<br />

ah<br />

unless<br />

alas<br />

minus<br />

would<br />

in<br />

uhh<br />

for<br />

must<br />

oh<br />

for can<br />

admissibly<br />

unless<br />

shall<br />

near<br />

err<br />

nor<br />

must<br />

umm<br />

nor<br />

recap<br />

could<br />

or<br />

mayshould<br />

over<br />

eh<br />

umm<br />

until<br />

so<br />

under<br />

https://vimeo.com/<br />

135790657<br />

although<br />

save<br />

umm<br />

but<br />

can<br />

can<br />

would<br />

underneath<br />

aboard<br />

so<br />

should<br />

definitively<br />

shall<br />

dear<br />

for<br />

despite<br />

unless<br />

might<br />

well<br />

excepting<br />

disloya ly<br />

yet<br />

hey down except<br />

beneath<br />

might<br />

would<br />

uhh<br />

of<br />

by<br />

vegetably<br />

ouch!<br />

since<br />

hello<br />

although<br />

might<br />

will<br />

for<br />

we l<br />

umm<br />

unless<br />

uhh<br />

across<br />

hello<br />

will<br />

hey<br />

must<br />

over<br />

might<br />

uhanti<br />

past<br />

hello<br />

because yet<br />

may<br />

along<br />

although<br />

ah<br />

outside<br />

nor<br />

must<br />

beyond<br />

so<br />

eh<br />

could<br />

for<br />

ah<br />

can<br />

uhh<br />

could<br />

sha l<br />

along<br />

underneath<br />

ah<br />

hmm<br />

or<br />

but<br />

umm<br />

after<br />

ought to<br />

could<br />

must<br />

excluding<br />

bounteously<br />

wi l<br />

for<br />

or<br />

and<br />

we l<br />

through<br />

eh<br />

must<br />

under<br />

may<br />

uhh<br />

yet<br />

oh<br />

ought<br />

considering<br />

to<br />

hmm<br />

would<br />

through<br />

so<br />

since<br />

than<br />

since<br />

hi<br />

must<br />

unless<br />

upon<br />

eh<br />

although<br />

underneath<br />

so<br />

wi l<br />

should<br />

dear<br />

round<br />

under<br />

although<br />

we l<br />

would<br />

can<br />

umm we l<br />

since<br />

at<br />

mhm<br />

down<br />

ought to<br />

since<br />

will<br />

umm<br />

fo lowing<br />

but<br />

besides<br />

dear<br />

hi<br />

in<br />

might<br />

aboard<br />

impolitely<br />

CODE - 077


ThThe<br />

e<br />

history of public<br />

pool projects in New York<br />

City is the tale of infrastructure<br />

and community, together, wading<br />

in the metropolitan water cocktail.<br />

Pool of Oversized Localities confronts<br />

diametric readings of public housing<br />

and infrastructure projects in NYC<br />

as insensitive yet performative,<br />

aggressive yet conscientious. The<br />

spirit of the project is founded on<br />

the observation that the shared<br />

genotype of infrastructure and<br />

public housing is shared, that is,<br />

to be a reminder, as monuments<br />

are, of the power of sweeping<br />

solutions to complex problems.<br />

A public pool literally and figuratively<br />

inhabits the space between<br />

infrastructure and communities.<br />

Feeding from the enormous potential<br />

energy of the site's topography and<br />

the extant master plan's weak but<br />

latent axes of symmetry, a new system<br />

of above-ground drainage channels<br />

and collection pools is drawn. Once<br />

its controlled chaotic course is run,<br />

the runoff arrives at the building<br />

where it is treated and returned to the<br />

Grant residents. However, in heavy<br />

rain, the flow of water into P.O.O.L.'s<br />

bowels reaches critical levels of sound,<br />

movement, and capacity forcing this<br />

monument to infrastructure to<br />

defect to its parent network: the<br />

NYC sewage and Combined<br />

Sewage Overflow (CSO)<br />

__system._


POOL OF<br />

OVERSIZED LOCALITIES<br />

TOTALIZATION OF PUBLIC HOUSING PROJECTS' LATENT MONUMENTALISM<br />

WATERWORKS


WATERWORKS - 080


The infrastructure that realizes both public housing and pools can relate them to each other.<br />

WATERWORKS - 081


A dedicated jewel of infrastructure hums away. P.O.O.L. is sited at the bottom of its site's topography on what<br />

was once a parking lot.<br />

WATERWORKS - 082


Located between the pool and the structure is the entrance.<br />

WATERWORKS - 083


COLUMBIA PROJECTS<br />

A study of the outer bounds of public space (solid stroke), grass (gray fill) and symmetry axes (dashed stroke) of<br />

both Columbia University's campus and Grant Housing, led the author to the position that Grant doesn't need<br />

to be scaled down, but up, up, up.<br />

WATERWORKS - 084


“OPEN SPACE”<br />

Despite its /- - dimensions - -/, is not open.<br />

Scattere d trees,<br />

Fenced-off | grass |,<br />

Aging generic playgrounds<br />

And a deep, dark sectional proportion<br />

ALL<br />

Deny "open" of space.<br />

The TOTALITY of public housing [as a type]<br />

Echos a parallel,<br />

more hidden,<br />

more aggressive<br />

public work: INFRASTRUCTURE<br />

The opening of a space creates opportunity To<br />

express<br />

Both.<br />

Genotype? Monument. Phenotype? In denial: volumes are interrupted by shallow formal moves. Open space<br />

broken by fences, playgrounds, and parking. Axes of symmetry weakened by trees which isolate the ground from<br />

the architecture.<br />

WATERWORKS - 085


WATERWORKS - 086


Channels are designed to collect and disperse water as it passes towards the base of the site's topography and into<br />

the bowels of P.O.O.L.<br />

WATERWORKS - 087


WATERWORKS - 088


Using a laser cutter as a drawing tool allowed the author to hand draw the water systems afterwards with<br />

greater expression. Water's path called out.<br />

WATERWORKS - 089


WATERWORKS - 090


The structure's elongated façade openings reveal the floor-embedded systems behind.<br />

WATERWORKS - 091


A A<br />

housing complex<br />

where each unit’s visual connections<br />

to its neighbors affects its outer form and<br />

inner organization – a housing complex where each<br />

tenant, by being part of a multitudinous game of privacymanagement,<br />

achieves privacy through a fragmented anonymity.<br />

Existing conditions on and around the site reveal that surveillance,<br />

voyeurism and performance, three modes of seeing, not only exist but are in<br />

constant communication with one another, creating a rich and complex condition.<br />

This nesting subject/object relationship of seeing and being seen is thus explored.<br />

In order to theorize a new condition for housing, revealing the invisible is<br />

necessary. In order to subvert the gaze and ultimately the power structure<br />

inherent within the gaze, a counterintuitive intervention is proposed;<br />

rather than eliminating visual communication, it is enhanced,<br />

multiplied, and decentered. By accounting for the multitudes<br />

of visual relationships, relational conditions are<br />

discovered in order to reveal a hidden<br />

site and bring new meaning<br />

_to it.-


VEAPORTAL<br />

VISUAL MULTIPLICITY IN HOUSING<br />

with Damaskene Danaë Vokolos<br />

VIEWS


VIEWS - 094


A housing unit is a lens.<br />

VIEWS - 095


for a given sweep speed views into units are more brief yet more deep<br />

Veaportal using computation to take control of the parameter of visual relationship. Above, a study explores<br />

how for a given observer speed, , views into units are deeper (more invasive) yet more brief.<br />

VIEWS - 096


Above, a precedent study diagram for MVRDV's WoZoCo housing as a new (architectural) Dutch landscape.<br />

Below, a Southwest view of Veaportal.<br />

VIEWS - 097


Site concept diagram 1: Exterior site: East Harlem through unit frame arrays.<br />

VIEWS - 098


Site concept diagram 2: Interior sites: the domestic world, unitized and on display in the public realm.<br />

VIEWS - 099


moving zone-to-zone<br />

exercising<br />

bathing<br />

dressing<br />

grooming<br />

cleaning<br />

working<br />

cooking<br />

sex<br />

movement<br />

eating<br />

watching tv<br />

sitting on balcony<br />

sleeping<br />

duration of activity<br />

time spent in zone<br />

walking to zone<br />

bathing<br />

eating<br />

grooming<br />

balcony/terrace<br />

sleeping<br />

working<br />

0-5<br />

30-35 60-65 90-95 120+<br />

dressing<br />

exercising<br />

sex<br />

watching tv<br />

cooking<br />

cleaning<br />

movement<br />

static<br />

sleeping<br />

bathing<br />

balcony/terrace<br />

watching tv<br />

working<br />

grooming<br />

cooking<br />

walking to zone<br />

exercising<br />

sex<br />

cleaning<br />

kinetic<br />

shallow<br />

(near envelope)<br />

bathing<br />

cooking<br />

walking to zone cleaning<br />

sex<br />

dressing<br />

exercising grooming<br />

location<br />

watching tv<br />

working<br />

sleeping<br />

deep<br />

activities<br />

displace?<br />

Movement within a unit, location of those movements and proportional time spent there created a picture of<br />

how a unit of architecture might provide a stage for visual awareness.<br />

VIEWS - 100


Every view has a blind spot. Every blind spot is vulnerable to a vantage point elsewhere. Cones of vision<br />

boolean the air into a field of "X's". Some views pass through, others die.<br />

VIEWS - 101


Ground plan: where the unit X-cores meet the ground-scape's "eyes."<br />

VIEWS - 102


Vertical unit couple: A modular interface of privacy management. A stair, located between unit pairs in plan,<br />

eliminates the visual obstruction of inward-facing corridors on every level and creates moments of visual<br />

engagement.<br />

VIEWS - 103


Typical studio floor plan: an X-shaped core choreographs a series of visually "slippery" spaces. Walls might allow<br />

views to slip through or corners might become the place for views to die.<br />

VIEWS - 104


The X-core of each lenticular unit is a pre-fabricated, integrated system which sits inside a prefabricated concrete<br />

"U", glazed on each end.<br />

VIEWS - 105


VIEWS - 106


Within the inner courtyard, a corridor-walkway "ribbon" wraps the units together establishing direct physical<br />

relationships.<br />

VIEWS - 107


VIEWS - 108


To avoid unnecessary obstruction of trans-courtyard views, the corridor-walkway occurs on alternating floors<br />

where it feeds each unit and its vertical neighbor via the inter-unit stair.<br />

VIEWS - 109


The Desert Guide was a vital<br />

component of Advanced Studio VI:<br />

Desert Power. It invited students to<br />

each focus on a site of their choosing<br />

- located along the studio's Spring<br />

itinerary, a road trip from Tucson to<br />

Las Vegas - and an associated desert<br />

phenomena as a provisional primer<br />

to the actual journey. Chapter 2: Ants,<br />

Bombs, Biosphere is an oblique and<br />

intensive juxtaposition. It operates<br />

on the edge of fact, fiction, history<br />

and quintessentially American<br />

mythologies.


DESERT


ANTS<br />

BIO<br />

HYPERSCAPE<br />

POWER IS AN APARITION IN THE DESERT<br />

A cloud in the distance (left) and a dramatic sunset (right).<br />

Except clouds don’t shake the Earth and the Sun doesn’t set in the North.<br />

The American desert is a place where deception hides in plain view.<br />

(Las Vegas News Bureau)<br />

2<br />

NIMBUS AMERICANUS<br />

Behind the envelope of Las Vegas’s fabeled geodesic dome hangs a strangely alluring<br />

atom cloud.<br />

DESERT - 112


(Las Vegas News Bureau)<br />

SPHERE<br />

BOMBS<br />

SUN 50 OF 928<br />

Built in the craze of fear and fascination during the testing era, “The Dome”<br />

provided a signature skyscape unique to the mirage city.<br />

3<br />

DESERT - 113


ANTS<br />

BIO<br />

YEARNING FOR LAS VEGAS<br />

“...WHEN WE RUBBER-NECKED OUR OWN DOOM...”<br />

During the 18 years of above-ground atomic tests beginning in 1945 and ending<br />

in 1963 with the Limited Test Ban Treaty, blasts were a popular tourist draw. As<br />

hundreds of bombs exploded, so too did Las Vegas’s economy. Between 1950-1970<br />

the population quadrupled prompting one casino magnate to declare “the best<br />

thing to happen to Vegas was the Atomic Bomb.”<br />

4<br />

ORDINARY MONUMENTS<br />

Architects Robert Venturi and Denise Scott-Brown (aka Ms. Atomic Vegas 1956)<br />

scalelessly position themselves as one of a number of figures in the Vegas sprawl.<br />

DESERT - 114


SPHERE<br />

BOMBS<br />

HIGHLY DECORATED MILITARY SHED<br />

Few atomic tests captured the public eye like those directly on “The Strip” -<br />

specialized bursts aimed at testing its low-radiation entertainment potential.<br />

5<br />

DESERT - 115


ANTS<br />

BIO<br />

OPERATION TEAPOT<br />

One of the fourteen nuclear tests conducted at Nevada Test Site in 1955.<br />

6<br />

DESERT - 116


SPHERE<br />

BOMBS<br />

SUBSURFACE GENERATED WORLD<br />

Each of the below ground explosions vaporized a large chamber, leaving a cavity<br />

filled with radioactive rubble.<br />

7<br />

DESERT - 117


ANTS<br />

BIO<br />

ATOMIC THUNDERHEAD<br />

“...AND THE PRODUCTS WOULD RAIN DOWN...”<br />

What is weather if not temperature, pressure and electrostatic charge?<br />

In the early days of atomic testing, scientists considered the<br />

possibilities of using a “gadget” (a.k.a. a NUKE) to induce a<br />

thunderstorm that would aid in the dispersal of deadly radiation to a<br />

far larger area than the blast could directly affect.<br />

“IVY MIKE”, OCTOBER 31 1952<br />

A computer visualization of the otherwise invisible electrostatic disturbance in blast.<br />

8<br />

DESERT - 118


SPHERE<br />

BOMBS<br />

1945 MEMO FROM HIRSCHFEDER TO OPPENHEIMER<br />

“Strategic Possibilities Arising if a Thunderstorm is Induced by Gadget Explosion.”<br />

9<br />

DESERT - 119


ANTS<br />

BIO<br />

https://vimeo.com/<br />

134774341<br />

MICRO-SECOND SUN<br />

Recent processing of Rapatronic imagery reveals that in the few micro-seconds after<br />

10<br />

DESERT - 120


SPHERE<br />

BOMBS<br />

https://vimeo.com/<br />

134772836<br />

I, ANT, BECOME DEATH<br />

For some time this picture was banned, since it was considered far more provocative<br />

than the habitual mushroom cloud.<br />

11<br />

DESERT - 121


ANTS<br />

BIO<br />

ECOLOGY GENERATORS<br />

SEMI-CONTROLLED BLASTS OF ENERGY<br />

“As the cloud rose and cooled, a very intense purple with<br />

H+3 minutes after the burst, and at about H+10 minutes,<br />

a thunderstorm developed within the stem. Mr. Tanner and<br />

within a cloud.”<br />

-from a report about Redwing CHEROKEE, 1956<br />

test of a 3.8 megaton hydrogen bomb<br />

ACCELERATION<br />

12<br />

of time within its blast, hastening the generation and decay of new life forms.<br />

DESERT - 122


SPHERE<br />

BOMBS<br />

“Biosphere 2 was pitched at various times as a spaceship<br />

prototype, a nuclear shelter and a new kind of ecosystem<br />

laboratory which would better model Biosphere 1 (Earth).<br />

could then be engineered by instrumentalizing two distinct<br />

ecological theories: Darwinian competition and cybernetic<br />

regulation.<br />

-“Crisis in Crisis: Biosphere 2’s Contested Ecologies”,<br />

Janette Kim & Erik Carver, C-LAB<br />

ARK, EDEN<br />

Deeming that a “companion species” was essential for human mental health,<br />

psychologists introduced primates, who immediately climbed the structure in fear.<br />

13<br />

DESERT - 123


ANTS<br />

BIO<br />

AMERICAN FLASH ODYSSEY<br />

INVERSE TO FULLER’S METAPH<br />

OR, THIS WAS A<br />

SPACESHIP AS AN EARTH.<br />

Biosphere 2 was to be an holistic, scale replica of Earth with the twofold<br />

goal of prototyping a Mars settlement and learning about the<br />

dynamics of the home planet.<br />

It was sealed with 8 inhabitants for a period of 2 years, during which<br />

it hosted some surprises. A cloud of new relationships produced an<br />

yet it also produced the most productive half-acre of agriculture ever,<br />

Its techno-heroics were e also its follies, its ambition, its failure.<br />

attention fr<br />

om the skeptical public media. As the public rolled its<br />

eyes, many scientists disowned it...<br />

14<br />

DESERT - 124


SPHERE<br />

BOMBS<br />

Rainforest<br />

Human<br />

Habitat<br />

Ocean<br />

Savanah<br />

Thorn Scrub<br />

Marsh<br />

15<br />

DESERT - 125


ANTS<br />

BIO<br />

ANTS GOT IN...<br />

“AMONG THE SURVIVORS ARE CRAZY ANTS, MILLIONS<br />

OF THEM.”<br />

Pa<br />

rat<br />

atr<br />

rechina<br />

longicornus, or<br />

the crazy ant, named for its speedy and erratic behavior when<br />

years, as well as the crickets and grasshoppers.<br />

Swarms of them crawled over everything in sight: thick foliage,<br />

damp pathways littered with dead leav<br />

es and even a bearded<br />

ecologist in the humid rain forest of Biosphe<br />

iosphere 2, an eightstory,<br />

glass-and-steel world in the wilds of the Sonora Desert<br />

that cost $200 million to build.<br />

”<br />

Burgess, the ecologist, said as he tapped a dark fr<br />

ond, sending<br />

dozens of the ants into a fr<br />

enzy.<br />

“Until we understand the<br />

ecology<br />

y,<br />

we’re reluctant to eliminate them.’’<br />

Columbia University,<br />

an icon of the Ivy League, is struggling<br />

to<br />

-“Paradise Lost: Biosphere Retooled as<br />

Nightmare”, William J. Broad,<br />

11/19/1996<br />

Atmospheric<br />

16<br />

DESERT - 126


SPHERE<br />

BOMBS<br />

THE NEW BIOSPHERIANS<br />

ten of countless<br />

17<br />

DESERT - 127


ANTS<br />

BIO<br />

... AND THEY RAN THEIR SCRIPT<br />

ALL OVER THE PLACE.<br />

THE EXPLORAT<br />

ORY LOGIC OF ANTS.<br />

to the wind, the ant embarks on its way<br />

.<br />

2. its second step is not so fr<br />

ee. an ant must decide if it wishes to<br />

continue along its previous vector or make a turn. if it decides<br />

to make a turn, an ant must never turn more than its maximum<br />

allowable deviation. a study on Linepithema humile<br />

(D. Gordon)<br />

found that it never turned more than π/√3 radians, or 103.9°.<br />

3. after deciding whether to turn or not, the ant must decide how far<br />

it will walk in its decided direction. like the turning, walking distance<br />

operates within limits “minWander<br />

Dist” and “maxW<br />

Wander<br />

Dist”.<br />

4. if the ant intersects a line “phermoneTrai<br />

l” it must conform its<br />

future walking to it. else it repeats steps 2-4.<br />

5. if the ant happens upon an item “food”, it initiates a release of a<br />

chemical, “phermones”.<br />

6. the ant carries a bit of food back to the colony, leaving a<br />

“phermoneTrai<br />

l” along the way<br />

y.<br />

18<br />

DESERT - 128


SPHERE<br />

BOMBS<br />

19<br />

DESERT - 129


ANTS<br />

BIO<br />

max turning angle = +/- 9 degrees<br />

number of ants = 9<br />

max turning angle = +/- 18 degrees<br />

number of ants = 18<br />

steps per ant =300<br />

steps per ant = 200<br />

steps per ant = 100<br />

20<br />

DESERT - 130


SPHERE<br />

BOMBS<br />

max turning angle = +/- 36 degrees<br />

number of ants = 36<br />

max turning angle = +/- 72 degrees<br />

number of ants = 72<br />

21<br />

DESERT - 131


ANTS<br />

BIO<br />

8.4<br />

n<br />

12.6<br />

n<br />

7<br />

n<br />

11.9<br />

wanderDist<br />

“how far will I move?”<br />

“d”<br />

(random integer d such that x < d < y)<br />

turnBool<br />

“will I turn?”<br />

“y” or “n”<br />

(50/50 chance)<br />

vecTurn<br />

“how much will I turn?”<br />

“θ°”<br />

(random integer θ such that -x < θ < x)<br />

y 30.1°<br />

y<br />

7.7<br />

n<br />

13.3 y 1.<br />

n 10.5<br />

y<br />

8.4<br />

n4.2<br />

11°<br />

100° y<br />

10.<br />

4.9 9.8<br />

y n<br />

26.6° 9.8<br />

n n 9.1<br />

n<br />

10.5<br />

8.49.8<br />

19° y<br />

5.6<br />

y 78.5°<br />

14<br />

y<br />

37.3°<br />

n<br />

9.1<br />

12.6<br />

11<br />

y<br />

4.2<br />

n 51<br />

9.8<br />

13.3<br />

n<br />

n<br />

4.9<br />

4.9<br />

y 40<br />

22<br />

DESERT - 132


SPHERE<br />

BOMBS<br />

n<br />

°<br />

n<br />

n<br />

n<br />

n<br />

n<br />

22.4°<br />

5°<br />

y n n 29.4°<br />

6.3 8.48.4<br />

y<br />

12.6 n 77°<br />

5.6<br />

56.7°<br />

8.4 y 7.7<br />

n<br />

9.8<br />

n nn n<br />

4.9<br />

6.3<br />

5<br />

13.3<br />

.9<br />

14<br />

7.7<br />

n n<br />

6.3<br />

.6°<br />

6.3<br />

12.6<br />

12.6<br />

9.1<br />

n<br />

12.6<br />

n<br />

6.3<br />

60.8°<br />

y<br />

17°<br />

9.8<br />

y<br />

2° y<br />

14<br />

n<br />

n<br />

n n 8.4<br />

5.6<br />

11.9<br />

9.1<br />

11.2<br />

9.1<br />

y<br />

n<br />

9.8<br />

4.9<br />

n nn<br />

3.5<br />

9.8<br />

11.2<br />

y<br />

16.6°<br />

14<br />

36.5°<br />

7<br />

9.8<br />

y<br />

13.341.7°<br />

y<br />

39.9°<br />

11.9<br />

n<br />

11.9<br />

n<br />

4.9 n<br />

n<br />

y 62.1°<br />

7.7 y n 9.8 8.4<br />

4.2 12.6 y<br />

n 8.4n<br />

56.9°<br />

9.1<br />

5.7°<br />

y 13.3<br />

48.2°<br />

y<br />

13.3<br />

y 57.7°<br />

7.7<br />

4.9<br />

n<br />

13.3<br />

23<br />

DESERT - 133


ANTS<br />

BIO<br />

ANTHRO-ASSIST SWARM<br />

A PANTROPICAL TRAMP THAT IS EASILY<br />

HUMAN ACTIVITY.<br />

DISPERSED BY<br />

As impolite as they are crazy,<br />

Formica Longicornis routinely burst<br />

into homes, often shorting circuitry with displaced matter. Left<br />

alone a colony’s territory spreads at a leisurely ely 200 feet annually, both<br />

opportunistic and oblivious towards any architecture in its path. Add<br />

in their penchant for piggybacking and the result is global and multiecological<br />

dominion.<br />

99 times found in urban/garden,<br />

28 times found in coastal scrub,<br />

17 times found in urban garden,<br />

17 times found in 2º lowland rainforest,<br />

10 times found in dry forest,<br />

9 times found in rainforest,<br />

9 times found in tropical dry forest,<br />

5 times found in coastal roadside,<br />

3 times found in degraded dry forest,<br />

1 times found in road side.<br />

(source: antweb.org)<br />

FORMICA LONGICORNIS<br />

Latreille, 1802a: 113 (w.) SENEGAL. Afr<br />

otropic.<br />

24<br />

DESERT - 134


SPHERE<br />

BOMBS<br />

25<br />

DESERT - 135


ANTS<br />

BIO<br />

GLOBALLY AWARE<br />

EXPLORATION CHANGES THROUGH DENSITY.<br />

“As ants explored a novel arena, they adjusted the shapes of their paths<br />

in response to the density of ants in the arena. Paths were more tortuous<br />

when ants were more crowded; turning index increased with overall<br />

work showing that a high turning index detracts from discovery rate<br />

at low densities, but not at high densities. ... this relation between<br />

individual path shape and group size maximizes the<br />

discovery rate of the group as a whole.”<br />

-Deborah M. Gordon, “The Expandable Network of Ant Exploration”<br />

Stanford University (1994)<br />

26<br />

DESERT - 136


SPHERE<br />

BOMBS<br />

OPERATION S.W.A.R.M. (DECLASSIFIED 1992)<br />

Simulation of the exploratory behaviour of “atomic ants” superimposed on recent<br />

photographs of remaining super-mounds at the Nevada Test Site.<br />

27<br />

DESERT - 137


ANTS<br />

BIO<br />

yAxis = 0<br />

axes.append(yAxis)<br />

SCRIPTED ENTROPY<br />

SIMULATION OF S.W.A.R.M.<br />

def kickstart(origin):<br />

omniXYZ = Point3d(r.uniform(-1,1),r.uniform(-1,1),r.uniform(-1,1))<br />

kPt = origin + omniXYZ<br />

kVecs.append(rs.VectorCreate(kPt, origin))<br />

firstLines.append(rs.AddLine(origin, kPt))<br />

kDist.append(rs.Distance(kPt,origin))<br />

kPts.append(kPt)<br />

if active:<br />

kPts = []<br />

kVecs = []<br />

kDist = []<br />

firstLines = []<br />

origin = rs.coerce3dpoint(colony)<br />

i = 0<br />

while i < numAnts:<br />

kPt = kickstart(origin)<br />

i = i + 1<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

zAxis = r.randint(-1,1)<br />

else:<br />

zAxis = 0<br />

axes.append(zAxis)<br />

rotate = rs.VectorRotate(kVecs[j],ve<br />

rotate = rs.VectorRotate(rotate,vecT<br />

unitize = rs.VectorUnitize(rotate)<br />

scale = rs.VectorScale(unitize,wande<br />

allVecs.append(scale)<br />

else:<br />

turnBool.append(“N”)<br />

vecTurn.append(0)<br />

unitize = rs.VectorUnitize(kVecs[j])<br />

scale = rs.VectorScale(unitize,wande<br />

allVecs.append(scale)<br />

axes.append(0)<br />

axes.append(0)<br />

axes.append(0)<br />

pt3 = prevPt + Point3d(scale)<br />

allPts.append(pt3)<br />

secondLine = rs.AddLine(prevPt,pt3)<br />

antPaths.append(secondLine)<br />

numAnts = numAnts<br />

def pathStarter(j):<br />

wanderDist.append(r.randint(minWanderDist,maxWanderDist))<br />

prevPt = rs.coerce3dpoint(kPts[j])<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

turnBool.append(“Y”)<br />

vecTurn.append((r.randint(-maxDeviation, maxDeviation)))<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

xAxis = r.randint(-1,1)<br />

else:<br />

xAxis = 0<br />

axes.append(xAxis)<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

yAxis = r.randint(-1,1)<br />

else:<br />

def pathMaker(stepsPerAnt):<br />

if stepsPerAnt > 1:<br />

wanderDist.append(r.randint(minWan<br />

prevPt = rs.coerce3dpoint(allPts[-1<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

turnBool.append(“Y”)<br />

vecTurn.append(r.randint(-maxDe<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

xAxis = r.randint(-1,1)<br />

else:<br />

xAxis = 0<br />

axes.append(xAxis)<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

yAxis = r.randint(-1,1)<br />

28<br />

DESERT - 138


SPHERE<br />

BOMBS<br />

else:<br />

yAxis = 0<br />

axes.append(yAxis)<br />

cTurn[-1],[xAxis, yAxis, zAxis])<br />

urn[-1],rotate)<br />

rDist[-1])<br />

rDist[-1])<br />

BOOL = bool(r.getrandbits(1))<br />

if BOOL:<br />

zAxis = r.randint(-1,1)<br />

else:<br />

zAxis = 0<br />

axes.append(zAxis)<br />

rotate = rs.VectorRotate(allVecs[-1],vecTurn[-1],[xAxis,yAxis,zAxis])<br />

rotate = rs.VectorRotate(rotate,vecTurn[-1],allVecs[-1])<br />

unitize = rs.VectorUnitize(rotate)<br />

scale = rs.VectorScale(unitize,wanderDist[-1])<br />

allVecs.append(scale)<br />

else:<br />

turnBool.append(“N”)<br />

vecTurn.append(0)<br />

unitize = rs.VectorUnitize(allVecs[-1])<br />

scale = rs.VectorScale(unitize,wanderDist[-1])<br />

allVecs.append(scale)<br />

axes.append(0)<br />

axes.append(0)<br />

axes.append(0)<br />

pt3 = prevPt + Point3d(scale)<br />

allPts.append(pt3)<br />

newLine = rs.AddLine(prevPt,pt3)<br />

antPaths.append(newLine)<br />

pathMaker(stepsPerAnt - 1)<br />

derDist,maxWanderDist))<br />

])<br />

viation, maxDeviation))<br />

if active:<br />

allPts = []<br />

allVecs = []<br />

wanderDist = []<br />

vecTurn = []<br />

turnBool = []<br />

antPaths = []<br />

axes = []<br />

origin = rs.coerce3dpoint(colony)<br />

for j in range(len(kPts)):<br />

pathStarter(j)<br />

pathMaker(stepsPerAnt)<br />

29<br />

DESERT - 139


Drone.<br />

The word's mention brings to mind<br />

both a dark, military technology and<br />

a harmless child's plaything. What<br />

of its promise? How can it assimilate<br />

into or influence architectural spaces?<br />

Drone Collider is an architecture<br />

that anticipates a near future where<br />

athletic robots of all kinds are the<br />

most ubiquitous mobile technology.<br />

When that time comes, will architects<br />

be blind-sided yet again by a new<br />

spatio-technological paradigm?<br />

The project translates an original<br />

"spatial catalog", diagrams for the<br />

co-existence of humans and drones,<br />

into a R&D/education/performance/<br />

experimentational program organized<br />

to encourage interchange between<br />

the various users and programs. The<br />

continuity of the spaces aims to blend<br />

the black of the drone to the white<br />

of the human into a zebra pattern of<br />

coexistence.


DRONE COLLIDER<br />

DRONES AS AGENTS FOR ARCHITECTURE<br />

with Brittany Melina Roy<br />

DRONES


DRONES - 142


A worms-eye view of the Drone Collider<br />

DRONES - 143


0°<br />

50°<br />

100°<br />

150°<br />

200°<br />

250°<br />

300°<br />

DRONES - 144


https://vimeo.com/<br />

130509331<br />

Drone Collider is a megacomplex built to encourage speedy and turbulent flows of both human and robot<br />

agents.<br />

DRONES - 145


A<br />

1 2 3 4 5<br />

FISH TRAP<br />

UNI-DIRECTIONAL VALVE<br />

SPEED VALVE<br />

SPEED VALVE<br />

KLEIN<br />

B<br />

POCKETED TRAP<br />

YINYANG TRAP<br />

TRAP VALVE<br />

TRAP LOOP<br />

BRANCHED KLEIN<br />

C<br />

D<br />

E<br />

OPEN TRAP SERIES<br />

CONJOINED TRAP<br />

ESCAPE TRAP<br />

DOUBLE TRAP<br />

DOUBLE CHAMBER PASS<br />

RADIAL TRAP<br />

BIASED TRAP VALVE<br />

SUPER TRAP VALVE<br />

NESTED TRAP<br />

MIRRORED CHAMBER PASS<br />

CHAMBER RING<br />

FRACTAL TRAP<br />

BRANCHED, POCKET KLEIN<br />

DEATH SPIRAL<br />

The spatial catalog of traps, valves, chambers, and bottles; each lending itself to certain uses.<br />

DRONES - 146


1 2 3 4 5<br />

A<br />

B<br />

C<br />

D<br />

E<br />

Extracting movement from these circulation models allows topologies to be distilled from geometry. This enabled<br />

translation into many scales and uses.<br />

DRONES - 147


VALVED CHAMBER<br />

FISH FISH TRAP<br />

CHAMBER PASS PASS<br />

KLEI<br />

TRAP TRAP PASS PASS<br />

VALVE VALVE SERIES<br />

TUNNELS TUNNELS<br />

PUBLIC PUBLIC DRONE DRONE PUBLIC PUBLIC PILOT PILOT PRIVATE PRIVATE DRONE DRONE PRIVATE PRIVATE PILOT PILOT<br />

If thought of as a Garden in the Romantic sense, a Drone Garden might function like this.<br />

DRONES - 148


TRAP<br />

ESCAPE TRAP<br />

EIN TRAP<br />

RECURSIVE TRAP<br />

FISH VALVE<br />

As an organizational and programmatic exercise the author worked on a strict grid in order to work iteratively<br />

and recursively. Each iteration was followed by an up-sampling of resolution by a factor of 2. This allowed a<br />

productive exploitation of the infinite zoom of computer drafting programs.<br />

DRONES - 149


The spatial and circulatory devices, if simply extruded and rotated five degrees each successive level, join into<br />

a monolithic hive-like megastructure. Through this labrynthian condition occur corridors that treat the user to<br />

long views across organized and isolated drone-related events.<br />

DRONES - 150


At left, an amateur pilot operates a drone through walls while a professional tests an advanced prototype.<br />

Above, the corridor is reprogrammed as a FPV (first person view) race course. Drone Collider is so large it<br />

requires its own traffic control — a service provided by specially designed drones.<br />

DRONES - 151


TA<br />

T<br />

Y<br />

RA<br />

R<br />

NGENTS<br />

3 RINGS<br />

RA<br />

A ING<br />

AT<br />

R<br />

+ INTER-PENETRA<br />

I N D U S T R Y<br />

L E<br />

- S P E C T A C<br />

E D U C A T<br />

I O N - E C O L O G Y<br />

AY<br />

R ARRA<br />

L<br />

POLA<br />

1<br />

1<br />

2<br />

2<br />

3<br />

2:3<br />

RESONANT<br />

R E C R E A T I O N<br />

SERVICE ROAD<br />

COURTYARD ENTRANCE<br />

- C O N S T R U C T<br />

I O N<br />

SER<br />

RA<br />

R<br />

CEWA<br />

WAY<br />

SPA<br />

AT<br />

P<br />

IAL DEVICES<br />

DESERT<br />

R<br />

C<br />

PE<br />

ROOFSCA<br />

The layers of program and circulation, unpacked.<br />

DRONES - 152


E D U C A T<br />

I O N - E C O L O G Y<br />

SPATIAL DEVICES<br />

SPATIAL DEVICES<br />

COURTYARD ENTRANCE<br />

R E C R E A T I O N<br />

VICE ROAD<br />

ERVICE ROAD<br />

RACEWAY<br />

RACEWAY<br />

DESE E<br />

ERT<br />

R<br />

O<br />

C<br />

PE<br />

ROOFSCA<br />

- C O N S T R U C T I<br />

T I<br />

I O N<br />

I N D U S T R Y<br />

D<br />

S T<br />

L E<br />

- S P E C T A C<br />

The layers of program and circulation, overlaid.<br />

DRONES - 153


TEST CH<br />

E D U C AT I O N A L<br />

CENTER FOR THE STUDY OF<br />

DRONE-ECOLOGY DYNAMICS<br />

DRONE<br />

INSTITUTE<br />

T N E D N<br />

E P E D N I<br />

DRONEYARD<br />

TESTBED<br />

R<br />

Third level plan axonometric. The Center for the Study of Drone-Ecology Dynamics, upper left, is a controlled<br />

system used to study the potential of robots as links in ecological systems. It is adjacent to a small educational<br />

program: The Drone Institute.<br />

DRONES - 154


M A N U F A C T U R I NG<br />

DRONE FACTORY<br />

DRONE STACK<br />

DRONE OPERA<br />

& AMPHITHEATER<br />

WORKSHOP SPACE<br />

SERVICE ROAD<br />

TEST CHAMBERS<br />

R E S E A R C H & D E V E L OPMENT<br />

A truck, at bottom, returns from resupplying the Drone Factory. Just beyond it, drone-built experimental<br />

structures are contained within nets - a kind of scaffold for drones. Red arrows indicate the meandering nature<br />

of circulation in contrast to the raceway's singular blue arrow.<br />

DRONES - 155


The Drone Opera joins with the amphitheater to showcase the Drone Stack, an elongated backstage element<br />

which punctures the factory above it. The merger of spectacle and industry. Essential Las Vegas.<br />

DRONES - 156


Roofscape = desertscape. At its WSW edge the building meets the high part of the site as an extension of native<br />

desert land.<br />

DRONES - 157


DRONES - 158


Swarming clouds of drones burst out into the (un)controlled skies.<br />

DRONES - 159


DRONES - 160


https://vimeo.com/<br />

130509330<br />

Exploration of large interior spaces via digital collages. Consisted of lofting space-frame geometries, intersecting<br />

them, taking interior perspectives and populating them with figures from Hieronymus Bosch's The<br />

Garden of Earthly Delights.<br />

DRONES - 161


CHIRIS<br />

/'CHris/<br />

with Chenyu "Carl" Pu & Damaskene Danaë Vokolos<br />

MECHANISM


MECHANISM - 164


Chiris is a manually actuated medium-scale architectural mechanism built by a team of three.<br />

MECHANISM - 165


Linkage arm profiles were CNC milled from plywood, filleted with a hand router, sanded smooth and completed<br />

with rubber sleeve inserts. Cladding made from hand-cut canvas and laser-cut museum board lay atop the<br />

mechanism.<br />

MECHANISM - 166


The supporting structure consisted of a 10' circular ring atop a 10' square framed base.<br />

MECHANISM - 167


3/4” BIRCH PLYWOOD FRAME,<br />

5 SHEETS (3.5”) THICK AT BASE<br />

3.5” 2 POINT CONNECTION<br />

1/2” PLYWOOD<br />

3/4“ PINE PLYWOOD<br />

HIGH-DENSITY FOAM FOOTING<br />

2X4 FRAME<br />

In order to minimize mass, the team avoided a moment connection at the frame-base joint. Instead, a footing<br />

for the frame was cut into the baseboard and supported by a scrap high-density foam block.<br />

MECHANISM - 168


The frame+mechanism is tied back to the base's corners at its two midpoints creating a stable structure with<br />

minimum material.<br />

MECHANISM - 169


LINKAGE<br />

FRAME<br />

CLADDING<br />

MECHANISM - 170


https://vimeo.com/<br />

124010201<br />

MECHANISM - 171


3” 5” 4 1/2” 4 1/2” 3”<br />

4 1/2” 3 1/2” 4 1/2”<br />

2 1/2” 3 1/2”<br />

LOCK NUT<br />

PLANT FIBER<br />

WASHER<br />

CLADDING ASSEMBLY<br />

PLASTIC SLEEVE<br />

METAL WASHER<br />

PLYWOOD<br />

NYLON WASHER<br />

BOLT<br />

LOCK NUT<br />

PLANT FIBER<br />

WASHER<br />

CLADDING ASSEMBLY<br />

PLASTIC SLEEVE<br />

METAL WASHER<br />

PLYWOOD<br />

NYLON WASHER<br />

BOLT<br />

5” 3”<br />

4 1/2”<br />

3 1/2”<br />

MECHANISM - 172


LOCK NUT<br />

PLANT FIBER<br />

WASHER<br />

4 1/2” 5” 4 1/2” 3”<br />

2 4 1/2”<br />

CLADDING ASSEMBLY<br />

PLASTIC SLEEVE<br />

METAL WASHER<br />

PLYWOOD<br />

NYLON WASHER<br />

BOLT<br />

The cladding layer, being the most fragile and intricate, needed to be in-plane. Seven unique details were<br />

needed to accomplish this.<br />

5” 3”<br />

4 1/2”<br />

3 1/2”<br />

MECHANISM - 173


MECHANISM - 174


NYLON LOCK NUT<br />

PLANT FIBER WASHER<br />

MUSEUM BOARD+CANVAS CLADDING<br />

HARD RUBBER SLEEVE<br />

METAL WASHER<br />

MILLED PLYWOOD LINKAGE<br />

HARD RUBBER SLEEVE<br />

NYLON WASHER<br />

MILLED PLYWOOD LINKAGE<br />

HARD RUBBER SLEEVE<br />

METAL WASHER<br />

PULLEY FOR ACTUATION ROPE<br />

ZINC-COATED BOLT<br />

The core detail of Chiris. Variations of this detail (on previous spread) occur throughout the mechanism.<br />

MECHANISM - 175


MECHANISM - 176


https://vimeo.com/<br />

124010202<br />

Chiris, actuated with minimal effort.<br />

MECHANISM - 177


MECHANISM - 178


Chiris, exhibited at South Gallery, Buell Hall, Columbia University, NY, USA, Earth. 2014<br />

MECHANISM - 179


Since all outer space habitats thus far have been determined by launchvehicle<br />

geometry, there exists no veritable account of human spatial<br />

organization in micro-gravity. L-Machine is a life-supporting artifact<br />

located at Lagrange Point 4 of the Sun-Earth system. It operates<br />

as a deprogrammed scaffold onto which human organization of<br />

space through time is architecturally archived, giving us the first true<br />

account of “program” in Space. In order to allow for the full potential<br />

of spatial invention, rotating structures of various cross-sections<br />

and dimensions are used to generate a rich spectrum of gravities.<br />

Given that all space architectures are firstly life-support machines with<br />

an utterly inflexible interior-exterior distinction, the problem of human<br />

space habitation is backgrounded by a friction between human biology<br />

and the machines that enable it. Space architecture is always already a<br />

“health station." Since life in space will be dominated by attention to<br />

basic needs, the project addresses the idiosyncrasies of living inside a<br />

machine via the integration of structure, life support and living space.<br />

The few existing precedents for living in Space offer little as models of spatial<br />

organization since they are disjointed from humanity's rich history of spatial<br />

organization by the rocket's engineering limits. The goal of L-Machine is<br />

to provide an architectural account of how humans would self-organize in<br />

Space over scales of time shallow and deep; from the lifespans of individuals,<br />

families and generations, to those of cultures and entire histories.


L-MACHINE<br />

WORLD-GENERATING ARTIFACT<br />

SPACE


SPACE - 182


<strong>Architecture</strong>, or the human organization of space, is itself the ultimate human artifact. L-machine is a deep<br />

space probe on the scale of a village. It is a habitat with ruination as its ultimate end; an architectural archive<br />

for the future.<br />

SPACE - 183


The creation of a feasible pressurized volume is a central challenge to the problem of space architecture. From the<br />

beginning, the desire was to get away from the default cylindrical habitats and move towards a large spatial<br />

field. By drawing a tensile grid, an integrated system for structure, organization and life-support is imagined.<br />

SPACE - 184


SPACE - 185


SUIT<br />

POD<br />

CAPSULE<br />

UNIT<br />

"Offset envelopes": The human body in space is always inside some form of architecture. In this study, the human<br />

envelope is repeatedly offset so that key thresholds related to the body may be understood.<br />

SPACE - 186


These offset envelopes are translated into rectangular systems so that they can be understood in terms of a grid.<br />

SPACE - 187


SPACE - 188


When the gravity is a manipulable architectural parameter, the human body can no longer be understood in<br />

Classical, Vitruvian terms.<br />

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https://vimeo.com/<br />

105626415<br />

g = gravity<br />

tf = tidal force (% gravity gradient experienced from head to toe)<br />

r.Ci = circle radius<br />

r.Sq = circle radius<br />

A rotating circle, while curved, is experienced as a flat surface since the vector of gravity is always normal to<br />

the surface. Below: a square, by contrast, appears flat but is experienced as four sloped surfaces (one for each<br />

side).<br />

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https://vimeo.com/<br />

89454447<br />

Artificial gravity = centrifugal acceleration = radius x angular velocity². Through computation, a family of<br />

artificial terrains of potentially endless variety are discovered.<br />

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https://vimeo.com/<br />

105626413<br />

89454447<br />

Rotation places the greatest amount of tension at the mid-section of the volume, creating additional<br />

structural need. This is addressed by drawing tension members which join to form a walkable surface. The<br />

resulting ruled surfaces divide life-support zones from the habitation zone.<br />

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L-machine's rotation and complex geometry generates a kinesthetic landscape. A miniature world.<br />

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Below: The surface inside provides a varied terrain for varied human activity. The curved line represents<br />

perceived change in slope over time.<br />

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OBJECT<br />

human power<br />

animal power<br />

geological power<br />

abstract power<br />

PROCESS<br />

new reality<br />

WORLD<br />

Placed within the historical context of technological objects, L-Machine proposes to be a new kind of artifact:<br />

one that is at once object, reality, and world.<br />

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Renditions of certain futures within. Note the three primary zones organized from envelope to center using<br />

direct tension ruled surfaces.<br />

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physiochemical<br />

life support<br />

bioregenerative<br />

life support<br />

living<br />

Two kinds of life-support systems are required: a physiochemical, based on oxidation/reduction, and a<br />

bioregenerative, based on living metabolisms. These zones are organized, from envelope to center, along a<br />

service-to-habitat gradient.<br />

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L-Machine is located in L-4 of the Sun-Earth system with its axis of rotation tangential to its orbit. This<br />

gravitationally stable location allows it to have both a psychologically significant visual connection to Earth<br />

and an orientation ideal for solar radiation shielding.<br />

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Y_b<br />

HUMAN WASTE COLLECTION:<br />

faces rotation axis<br />

falls to perimeter for processing<br />

DRINKING WATER SUPPLY:<br />

oriented away from rotational axis<br />

excess falls as "rain" towards perimeter<br />

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XYZ<br />

GENERIC PIPE STRUCTURE:<br />

CARBON TENSILE RIBBON (CTR)<br />

primary struct.<br />

holds pressurized volume together<br />

1-1/2" x 1'-7"(Z) or 11-1/2"(X,Y)<br />

OUTER METAL SHELL<br />

secondary struct., supports live load of habitation,<br />

mounted to CTR in 8' segments<br />

3/4" thick<br />

INSULATION<br />

INNER DIVISIONS<br />

ducts, pipes, compartments for LS (life support)<br />

COLOR-CODED CAPS<br />

aid in human orientation and pipe identification<br />

The pipe lattice is a scheme for life-support and "biospherics" to be integrated with structure to make flexible<br />

space for self-organizing human beings.<br />

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AIR AIR SUPPLY<br />

facing perimeter<br />

pumped from from LSS LSS at at perimeter,<br />

slot slot diffuser 52" 52" O.C. O.C.<br />

HANDLES<br />

mounted onto onto metal metal outer outer shell shell<br />

2" 2" diameter arranged around pipe pipe at at<br />

Y_a<br />

Y_a +<br />

X_a<br />

X_a<br />

AIR AIR RETURN<br />

facing rotation axis axis<br />

inside inside pipe, pipe, air air pulled towards LSS LSS<br />

grate grate 208" 208" O.C. O.C. (addition return return at at perim<br />

The pipes supply water, air, power, lighting, ropes, tarps, platforms and plants and return air and human<br />

waste cumulatively providing the essentials in both life-support and living support.<br />

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Z<br />

ROPES<br />

deployed from Z to X/Y/Z<br />

48" O.C.<br />

HAMMOCK<br />

deployed from Z to Z pipes<br />

AEROPONIC FLORA<br />

growing against G<br />

mesh+irigation pipe<br />

TELESCOPIC PLATFORM<br />

stowed parallel to CTR (normal to G vector)<br />

rimeter)<br />

At the core of each pipe is a carbon nano-tube tensile ribbon which ties the entire pressurized volume together<br />

in three axes X, Y, and Z.<br />

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Research for this project features<br />

investigative animated content<br />

poorly suited for print.<br />

Scan to watch a brief video<br />

or go to:<br />

http://youtu.be/0k3ate7EpWI<br />

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Jeffrey Montes<br />

contact card<br />

FOR THE LATEST: JETPORTAL.NET

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