3oRM by Brennen Huller

BRENNEN HULLER AUTONOMOUS NUTRIENTS NUTRIENTS AUTONOMOUS

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[XX] Architectural Master’s Project X XBRENNEN X XHULLER X X 87 by:

Project Chapter Sited Source Figure Callout Page Number

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(Interactive Symbiotic Relationships in Architecture) by: Brennen Huller A Master’s Project submitted in fullfillment of the requirements for the degree of Master of Architecture School of Architecture and Community Design College of the Arts University of South Florida Major Professor (Chair) : (MW) Mark Weston, M. Arch Shannon Bassett, M. Arch © Copyright 2013, Brennen Huller

1. - Metamorphosis- Realization of Transformation

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[ACKNOWLEDGEMENTS]

To all my peers that were a constant form of inspiration and laughter, who without, I could not have kept sanity throughout this process. To (MW) Mark Weston for allowing chaos within process and for your patience and guidance along the way. To Shannon Bassett for your tremendous teachings and cultural introductions early on, you have been a great encouragement throughout my period at USF. To Michael Halflants for your candid tutelage and constant reassurance that the detail creates success. To Jan Wampler for emphasizing design as another step to a sustainable world, as well as displaying life lessons outside studio. To my family, for believing in me: Doug (Dad)/Grandma Huller/Grandpa Huller Joleen (Mom)/Tracy (Dad)/Kiley/Taren Grandma Lynn Aunt Joyce/Uncle Jerry Steve/Grandma Joyce Aunt Tina/Nick/Chas Great Grandma Vi

I would also like to thank: JeetPaul Saran M.D. Abbey Sharabyani Tej Atluri M.D. Khavita Persaud The Urban Conga (Ryan S., Mark P., Michael-Angelo M.) The Pod - (Mr. Johnson., Daniel A.) Jon Anderson Dustin Merritt

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Chris Jakes Toni Jakes Cristina Rodriguez Robert Godfrey R.A. Robert Macleod Mary Hayward Mike Lemieux

2. - The Takeover - Reminiscing

To all the designers, artists, photographers, etc. whose work I have admired and utilized to make this document possible. Without the mastery of your craft I could not pursue mine.

[DEDICATION]

I would like to dedicate this document, as well as the last four years of my education, to my great grandmother Vi. Without your endless support and constant ability to put a smile on my face, success in this institution would have been short lived. I cannot thank you enough for passing down the creative gene in the family. I believe we are the only two who think with the â&#x20AC;&#x153;rightâ&#x20AC;? side of our brain! I greatly appreciate you always being there for me! I love you grandma! Additionally, I would like to thank my grandma Huller. If it was not for your early tutelage, I may still be swimming underwater without breaching the surface. I love you with all my heart and hope to one day display that all this chaos has paid off!

3. - An Understanding - There

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[CONTENTS]

1 Abstract

10-11

2 Introduction (Core of the Problem)

12-17

3 Curiosity (Nature of Intention) Case Study - Jimenez Lai White Elephant Case Study - Marc Fornes - Aperiodic Vertebrae v2 Case Study - IwamotoScott Architects Stage Set for John Jasperse

4 Pursuit (Solutions)

18-33 26-27 28-31 32-33 34-41

5 Interaction (Concepts / Conga)

42-63

6 Prospective (Scaled Studies)

64-73

7 Impending (Application)

74-81

8 List of figures

9 Works cited

4. - Studio - Personalization

“The reason a lot of people do not recognize opportunity is because it usually goes around wearing overalls looking like hard work.” Thomas A. Edison

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1 [ABSTRACT]

Seldom does architecture, urban design, or public space in general contribute positively to their adjacent habitats and offer an interactive medium. As the human species progresses into the digital interactive realm, traditional face to face interaction perpetually regresses. As a result, these digital constructs replace physical space. Attempts to create physical social constructs become static and neglect to integrate this evolving social network it resides. Ironically, as these digital counterparts are intended to aid collectivity they hinder this process by being individualistically functional. What once was a world of personal interaction, is now one of impersonal. If an interactive entity were introduced to employ the existing physical and spatial conditions, then a new form of social interaction would develop. This study seeks to explore relationships between social interaction and our built surroundings while enhancing them via an autonomous architectural nutrient, 30RM. This autonomous cell will create microclimates, activate context, and infuse physical socialism into the built environment.

5. - Movement/Flow - Reactions in Space

â&#x20AC;&#x153;Aside from keeping the rain out and producing usable space, architecture is nothing but a special effects machine that delights and disturbs the senses.â&#x20AC;? Liz Diller

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2[INTRODUCTION] Core of the Problem

What once was a world of personal interaction, is now one of impersonal. Digital interaction is superseding traditional face to face interactions. As a result, voids now exist in physical spaces throughout our communities. Physical social interaction must be reintroduced into the physical realm to encourage more traditional social relations to activate vacancies. Today, the issue resides in the design. None of these physical objects offer dynamic interconnectivity and interaction. These constructs solely result in static space for a programmatic intent. Rarely do these constructs promote and create cooperative interaction between the public realm and its occupants.

“The more influence you can personally exert on the things around you, the more you will feel emotionally involved with them and the more attention you will pay to them, and also, the more inclined to lavish care and love on the things around you.” Herman Hertzberger

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[INTRODUCTION] 12 6 13

6. - Flux - Do Not Touch

The built environment is becoming static and lacks dynamic physical elements. Essentially, there is nothing to play with or learn from. â&#x20AC;&#x153;The dynamic and the mobile were new architectural conceptions. The building can drive, wander about, be folded up and even fly; architecture itself begins to change.â&#x20AC;?12 Unfortunately, in a time of digital social network cyberspace is becoming one of solitary. It then becomes crucial that relationships between the digital, physical, and social need to be explored to enhance physical communities. When a dynamic object is deployed to activate public space, then a better understanding of social connections can assist in further development of interactive architecture.

Different types of relationships exist between elements that can either benefit or hinder their counterpart. In any sense, relationships between two or more entities, whether living or not, creates interaction. From all scales between molecules, insects, plants, animals, humans, and all realms this synergy can be witnessed on a daily basis. Focusing on the molecular scale, a protein molecule such as 3oRM, is a chemical combination of carbon, hydrogen, nitrogen, oxygen and when working together correctly are labeled as active. If the elements do not work together appropriately, then the protein molecule becomes inactive. This analogy demonstrates a basic understanding of how physical elements can become dynamic and effective when they offer interaction to its adjacent social network. These types of interactions can create prosperous relationships for architectural design, urban design, and public space in general. Although these relationships will not entirely define the direction of the research and development of the project, they are necessary to understand before deploying experiments into the physical world. Interconnectivity between living elements, can be characterized as symbiosis, which is defined as a close association between two or more organisms of different species. Much like ecological and scientific relations occur between organisms, a similar association exists in our physical world in the urban context that surrounds us. In most instances, an interactive medium is not present. Therefore, relations between the social and physical

7. - Parasite - Coop Himmelblau flipped 8. - Parasite - Homeless Shelter

world becomes one of static uses. The relations discussed throughout this document involve human social interactions, from both a digital and physical realm, and how these interactive installations can activate spaces. Symbiosis can be defined through three specific categories. First, commensalism is a relationship where one species obtains food or shelter from the other species but does not harm or help the other genus. With this connection, one of the participants gains while the other remains in limbo.

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This is not entirely negative as this type of attachment is present in many physical forms set in some type of urban context. The social energy which surrounds these structures gives life to the space, but the physical space created remains as a backdrop. The physical limbo does not contribute to interconnectivity through interaction in the existing social system. It simply offers place. The second form of symbiosis, arguably the most constructive of the three, is mutualism, or co-operative affiliation. Mutualism is a relationship in which both species benefit. As this type of connection evolves, a dependency for one another becomes essential in sustaining comfort. If the physical was to offer interaction and encourage participation, then it would be a mutual relationship giving back to its social counterpart. The physical would begin to start a conversation between the human thus, enhancing communication and participation of those relating. The final form of symbiosis is known as parasitism and is a relationship between two species in which one species (the parasite) nourishes itself to the disadvantage of the other species (the host). It is this association that slowly drains one of the species until death. In urban design, this type of relationship appears most often in adjacent vacant and â&#x20AC;&#x153;run-downâ&#x20AC;? spaces.

These spaces that offer no physical backing to attract the public vanishes are the worst within a contextual setting because of their drain on social occupancy. The physical creates communal spaces. Without it, detrimental abyss will create more inactive voids. The hollow space can become the parasite and drain the community. Conversely, it is possible to enhance and liven the adjacent context if an interactive medium were deployed. With no attraction to offer, it slowly makes the adjacent structure less desirable, thus creating more social voids within the community. Similarly, on a smaller scale, another example of this may be found in an everyday residence. Essentially all of the furnishings within a residence may delight or disturb the space in which it rests judging on the relationship it has with its surrounding architecture. It is this type of relation that allows the furniture to act as commensalism, mutualism, or parasitism. Although these three affiliations of symbiosis are entirely different, the relations between them, in design, are interchangeable. Whether commensalism, mutualism, or parasitism determining if the connections are creating positive forms of interaction or not is of importance. If a negative form of interaction exists, then the relationship will not improve and remain in an unconstructive state. The objective is to develop positive physical social interaction to activate space, body, and mind. If these simple principles of relationships are considered during the design process, a better understanding of how to engage the physical existing conditions and the human

9. - Breakdown - Scale Morph 10. - Breakdown - Scale Morph

becomes more clearly defined. This study will challenge the ideology behind successful interactive entities and apply them to architectural design. The outcome will be a system that activates space and encourages physical social interaction. If this design is successful, then it will resolve a multitude of issues arising from inactive physical spaces and the decrease in physical social interaction in the public realm.

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[CURIOSITY] 3 Nature of Intention

In the early conception of 3oRM, the general approach was to utilize a â&#x20AC;&#x153;form of associative thinking which was analogic in nature, which derived ideas from one field of experience or knowledge to create design solutions in another.â&#x20AC;?8 For designers, this approach acts as a lens to exploit external ideas to create new concepts. This study of nature is one of curiosity. This curiosity cabinet stemmed from external interests and shaped a library of inquiries. Based on the fascination of materiality, tectonics, and its interaction with the human body this cabinet contained a culmination of objects from toys, constructs, engineered liquids, to living beings.

In lieu of the playfulness of the project, childhood toys quickly became a focal point. Physical play versus visual engagement (i.e. television), are a more healthy stimulation and always equate to interaction. This understanding of educational interaction early on in life is something that dissipates as one grows older. The objective is to bring this sense of creativity back into those occupants who generally find this type of play is no longer associated with them. For example, the LEGO™ is rarely utilized by adults as a way to educate, interact, or create. Along with the LEGO™, similar toys thrive with this “kit of parts” mechanism due to their ability to create a plethora of forms or functions. This will always be the case when multi-functionality becomes a single entity (LEGO™ brick), then morphed and multiplied (brick form and amount). Additionally, this type of design is sophisticated in that it can connect back on itself versus being a linear chain of connectivity. The structural integrity changes and is more capable of scale changes through this sophisticated connectivity. The simpler the toy, the easier to manipulate. The more complexities it produces equates more minds it will relate to. The concept of many toys is engaging via a kit of parts and leaving the play as an open ended outcome. The success of the toys on the market today, is their ability to be used with no preconceived instruction manual. If one can “grab and go” versus taking the time to “learn how” it is intended to be used, a quicker course of interaction will occur. The do-it-yourself approach encourages design and creation to be taken into one’s own

11. - LEGO™ Add - Physically Play 12. - littleBits - Electronic Kit of Parts

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hands which is more of an incentive to play. Simply, supply the tools, not the program. Not quite a toy, but Ferrofluid is a great example of an interactive entity. Ferrofluid is a “liquid which becomes strongly magnetized in the presence of a magnetic field.”4 The primary systems ability to be manipulated via a secondary magnetic system is quite fascinating. Such a simple concept allows adaptation at the hand of the user. If given a contained Ferrofluid and a magnet, one can create forms and play for hours. It provides the means to educate the user about gravity, space, reactions, and patience without distinct rules on how to play. This type of interaction encourages exploration and creativity allowing one to show off their capabilities. Generally, the result of this interaction is to educate others about their discoveries. A newly developed toy, conceived at the M.I.T. Media Lab, also utilizes magnets to act as a secondary system. This toy has broken the complexities of electronics and channeled it into a conventional design. Ayah Bdeir, founder and CEO of littleBits, has created “an opensource library of electronic modules that snap together with tiny magnets for prototyping, learning, and fun. Each bit has a specific function (light, sound, sensors, buttons, thresholds, pulse, motors, etc), and modules snap to make larger circuits.”15 With this design, she has broken the barrier of being able to “play” with electronics. The complications of functions and connections are simplified. The educational plug and play approach are implemented. The use

of these parts is limitless to the imagination but become linear in their connectivity. If the circuits begin to loop back on each other the design may become too complex thus, not as easily interactive. Essentially, this linear system works well for its application. Another remarkable aspect of the design is it encourages interaction with everyday external elements outside of itself. With the use of limitless external remedies (paper, tape, plastic bags, other toys, etc.), littleBits becomes an integrated component to larger conceptions. In essence, the kit utilizes its interaction from users and their amalgamated approaches to conceive added components for future growth. The toy itself develops by learning from its consumers and capitalizes from this interaction in our built environment. Brilliant! Another cutting edge toy design based on its integration and capabilities is Uberstix. Developed by Dane Scarborough, the kit is an “open-source building system that can take you to a place of unlimited possibilities.”13 In this design, the pieces themselves are two-dimensional but are capable through their materiality choice to bend or twist. This allows for a simpler construction method with three dimensional capabilities prior to being multiplied. A great feat about this product is that it is easily transported via its two-dimensional flat-packed design approach. Much like littleBits, Uberstix thrives on its ability to work with other build systems (existing toys, disposable items such as paper cups etc., natural elements such as water, etc). This type of capability enables this design to

13. - Uberstix - Adaptability 14. - Ferrofluid - Flow in Space

alter its abilities in any scenario. As Dane states, Uberstix is unique in that it “encourages the utilization of external materials into the equation, which becomes second nature to start looking at the possibilities of everything around you.”13 In addition to this ability he wanted the design to give an understanding of working functionality. ”Boats would float and sail, planes would fly and buildings would be structural.”13 This provides a sense of reality to the creator with a familiarity of everyday objects used on a daily basis. These parameters educate the user about gravity, structure, usability, and integration

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between systems. This toy is successful because it encourages creativity and interaction with relation to everything it encounters. The development of these kits is a great leap in interactive interconnectivity. â&#x20AC;&#x153;Building with a construction toy system is unique, in that while you are having fun, you are also developing spatial and problem solving skills. As you build more challenging projects you are also building selfesteem and confidence. The first time you build a structure taller than yourself, your perspective of the world shifts and more things seem possible and within reach.â&#x20AC;?13 It is this understanding by Dane that addresses the issue of scale with buildable toys. Although these toys are capable of going up in scale, with a considerable amount of multiplied pieces, they are limited by their scale. Because these pieces are designed to connect back on themselves, a scale jump is easily feasible and would open up a new ability for Uberstix to create.

15. - Blobwall - Modular - Play 16. - Weaire-Phelan Structure - Adapt

If the pieces became larger, it would begin to engage adults and grownups alike in an attempt to encourage teamwork between all ages. Jumping up in scale, architectural constructs are interesting from their spatial and functional capabilities, and integration between the human and the larger built environment. A piece such as Poly Pneu by Ma Xiao, based off of the Weaire-Phelan model, displays a multiplication of two cellular forms (dodecahedron and a tetrakaidecahedron) which allows for unlimited configurations. It also has the â&#x20AC;&#x153;additional advantage of being re-configured into a range of different scale applications.â&#x20AC;?9 This system ties back to the idea of cellular molecular structures and has been utilized to create designs for playground equipment. At a larger scale, it was used as the structure for the Water Cube in Beijing. The object itself can be made of any material at any scale but is limited through its secondary connection system. If these forms could connect as a singular entity the adaptability would become simplified and more usable at the human scale. In a deployable sense, the only downfall to the concept is its ability to be transported. The three-dimensional objects can be designed to become flat-packed. However, becomes costly and complex from a construction and durability standpoint. This geometric study raises questions in regards to its ability to be all encompassing and morph to its use. It brings up the question of, can buildings grow into a scaled interactive usability? With this type of system, the answer is absolutely.

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Similarly, The Blob Wall, created by Greg Lynn, is an “innovative redefinition of the brick – architecture’s most basic building unit – into a lightweight object made of colorful plastic and reinterpreted into modular elements.”7 This design allows for different form making and usability based on how the kit is constructed. “When this colorful structure is placed in the environment, it results in great visual stimulation for the people in the vicinity.”7 Aside from the visual, this design is a singular system that does not rely on a secondary connection system. This allows for social usability without a complexity of systems. The only issue for its deployable ability is its three-dimenional form. Although The Blob Wall is simple in its singular entity design, it is not easily transported and is complex in is constructible nature. Much like other designs based on the kit of parts mentality, “one unit becomes the constant, and the use becomes the variable.”7 The outcome of this project illustrates that while creating structured space a permanence can grow into an interactive element. Something not found in the designs previously mentioned is a spine of sorts that enables grow and use. With a rigid structural system to support its function, this is generally how anything from furniture to buildings is constructed. With all of the prior mentioned designs having no secondary rigid support they are essentially a flexible rigidity.

17. - Octopus - Flex/Attachment 18. - Flow/Ripple - Drawn Studies

In relation to this concept, in nature, “one of the most intelligent and behaviorally flexible of all invertebrates” is the octopus. This creature has “no internal or external skeleton” and because of this “allows them to squeeze through tight places” and adapt to surrounding environments.10 Designing based on this concept of a muscular hydrostat (an example would be the human tongue) would make the product more transportable and allow form scale changes as the design grows. As an extension of its body, the octopus uses protruding tentacles for feeling, grasping, or moving and uses its secondary extension of the tentacle (the suction cup) to “help them to move across rocks and smooth surfaces, as well as taste objects” prior to consumption.6 This is especially interesting in terms of latching onto existing environments. The suction cup is highly sophisticated but in its simplest depiction plays a key role in its function for the holistic creature. All of the mentioned elements have some form of a relationship with the environment in which they reside. Whether they are a detriment or become nutritious to their surroundings, they are creating an impact on their environment. In any regard, interaction between two elements will create excitement. Whether the cause is of good intent or not, in a static environment, a dynamic injection will always raise curiosity. This project reaches to discover successful approaches to encouraging interaction and curiosity. Throughout the process of this study, an array of constructs will be created to engage human interaction with goals of receiving relative feedback regarding usability, affordability, trans-

portability, and engagement. These studies will push later creations towards a more successful outcome of intention. Downtown Tampa, Florida, lacks activity and has a multitude of inactive spaces. These spaces will become the target and grounds of deployment. Diversity in scale, space, time, and users will lay the foundation for how the designs will be interacted with and eventually altered. Feedback is the backbone of the project and will ensure a user friendly ideology of design.

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CASE STUDY

Jimenez Lai - Bureau Spectacular White Elephant (Privately Soft) 2011

Jimenez Lai’s designs specialize in human interaction and usable scale. All of his pieces remain within a capable interaction by a single individual and encourage usability between others creating social interaction. As an autonomous object, The White Elephant displays adaptability by orientation and configuration while intentionally blurring the qualifications of plan and section. “This installation is a freestanding micro building / macro furniture that questions projection, inside/outside, rigidity/fluidity and size/scale.”16 Although the piece itself is static, it encompasses the notion of allowing movement to adapt to specific requirements and surrounding environments to ultimately create different functions. The White Elephant pushes the scale barrier and challenges our preconceived notions of furniture versus that of enclosures or larger spatial elements. It tests boundaries of scale and materiality that the human can feasible interact with. The creation consists of surfaces which essentially enables the piece to become more functional for a variety of different uses. Surfaces are capable of creating enclosures or simply become a resting place for everyday objects.

Thus, it is something every individual can relate to. This approach becomes more recognizable for its users and allows imagination to orient the construct to something of familiarity. If the piece is not capable of producing a familiar form, generally the user becomes lost as to the purpose of the interaction. The concept of The White Elephant raises more questions than answers but leads a movement of oddly scaled interactive macro furniture. At its current size of roughly 10’ x 10’, the piece would be difficult to transport unless it was capable of reconstruction. If this build were able to deconstruct and be reconfigured, it would allow for simple transport and enforce social relations upon deployment. Through the “wow” factor, or simply because it is something to play with, this type of entity would instantly activate space! It is recognizable as pliable in the sense that it is fully capable of creating sculpture, form and function. Once dispersed into an existing scene, The White Elephant will begin to fill voids and interact with other physical objects aside from human relations. This in itself will create curiosity and eventually activity.

19. - White Elephant - Two Should PLay 20. - White Elephant - Hard Outside/Soft Inside

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CASE STUDY

Marc Fornes - THE VERY MANY

Aperiodic Vertebrae v2 - NODE08, Frankfurt April 5th – 12th 2008

Throughout his career, Marc Fornes has become “one of the leading figures in the development of computational protocols applied to the field of design and fabrication. He defines research and practice agenda as a quest for “Explicit and Encoded”, “Precise Indetermination”, Progressive Geometry” all seeking “Unconventional Futures.”1 His ability to script primitives creating a greater whole is simply unmatched. His work ranges in scale and materiality but generally has a common base in its complexity and visually stunning outcomes.

The Aperiodic Vertebrae v2 project takes an extremely complex geometric configuration and breaks it down into a series of simplified elements and connections. The holistic build becomes one of great possibilities and leaves the mind to wonder about its complexity. Aside from research and development, his studies have given him a sense of public space and its impact in any urban setting. Thus, his installations find their final resting place in a variety of different social environments. With this understanding, materiality and scale are greatly impacted by the location in which it is constructed and the environment it has to withstand. The beauty of his process is the emphasis given for his creations to morph and alter themselves to surrounding environments. It is this ability in designing in numbers that is purely fascinating. In addition to this way of thinking, the majority of his constructs are free standing elements. When an object becomes autonomous, it only relies on itself for structural integrity and becomes temporary. If this process and approach were given to any number of static designs, it could easily find itself becoming an interactive entity. Through material changes the object could simply morph from a static permanence into a dynamic interactive element. The capability of singular entities to be proportionally scaled from a meso macro building scale down to a micro or meso scale and vice a versa is evident in his recursive growth studies. This allows the human scale to be developed at an interactive level simultaneously creating a similarity in language. The concept is one of usability, practicality, and is a simplified approach to addressing the public realm at the human level.

21. - Vertebrae v2 - Alien Factor 22. - Vertebrae v2 - Attachments

Aside from its interactive abilities, it becomes extremely functional through its use of surfaces versus connectors and/or branches (beams/columns). With surfaces used to create both the rigidity and connections, the piece becomes a singular system. Once the object needs a secondary connector system, which this one does with its use of zip ties, it becomes more complex and less sociable to create interchangeable solutions. The more simple the system, then more users will be capable of relating to its complex abilities.

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23. - Recursive Subdivision - Human Touch

“any systems can be understood as sum of primitives theory & science argues that ”the whole can be greater then the sum of its parts.” Marc Fornes

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The Very Many is a simple assembly of three words: “definite article” (i.e. Explicit) + “adjective-modifier” (i.e. Variables) + “plural” (i.e. Multiplicity). Combined as a motto, it addresses contemporary cultures as complex and intricate systems.”17 The Aperiodic Vertebrae v2 project utilizes the “kit of parts” mentality and in process becomes a way to learn from mistakes and errors created in previous generations of the project. Scripting allows for stages of development to adjust based on findings along the way. Much like a child playing with a toy, the creation can be backtracked and educate the creator along the way.

CASE STUDY

IwamotoScott Architects

California: Stage Set for John Jasperse AEDS/Ammar Eloueini, 2003

IwamotoScott Architects are at the digital design forefront creating digital fabrication methods, techniques and ways of creating interaction through built installations. In Lisa Iwamoto’s recently published book, Digital Fabrications: Architectural Techniques and Material Techniques, she explains how “digital methods have fundamentally shifted the discipline of architecture, and many paths now characterize this design arena.”5 This evolution of digital generated design enables complex forms to be broken down into buildable conceptions. In an interactive sense, this is especially important to allow the user to engage with a sizable object versus that of a larger permanence. In California: Stage Set for John Jasperse, Iwamoto designed a back-drop unlike any traditional stage set. “As opposed to creating a back-drop or immobile form for the stage, the set was designed as a morphing structure that allowed the dancers to engage directly with the piece”5 With this design, the construct supersedes formal beauty and becomes a needed engagement. It becomes one with the dancer and is an extension of human creativity and expressive ability.

As a deployable object, transportation and storage are the initial drivers for the concept behind the form and its materiality. The primary system, which is the surfaces, has to be flat packed and allow for simplistic reconstruct ability. The secondary system of zip tie connectors comes into play by giving the user the power to build and deconstruct with little to no previous knowledge of its design. This culmination of system creates the functional aptitude to travel and embrace fluidity in relation to its users. “The set can be created in hours and is easily broken down and packed into boxes to be reconstructed elsewhere.”5 the ability the design has to act as a tool to educate form finding and functional discovery is facilitated by its capability to reach an immense range of users.

“Relationship between architecture and the different conceptualizations of the body is fundamental, a mechanism that permits the exchange between the world of ideas to the world of the real. It is a mental construct that establishes analogies and imitations, similarities, and differences, correlations and translations from a system of thought to a system of realization.” Aleka Alexopoulou

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24. - Acting with Form - Stage Set 25. - Backdrop - Dramatic

4[PURSUIT] Solutions

Beginning concepts were organized to create a set of limitations for the kit of parts to be designed. The complexities of beginning systematic ideas were placed into four categories (form, surfaces, connectors, and tension). These groups classified what was eligible for deployable creations and eliminated themselves based on simplicity. Early studies where done with foldable twodimensional shapes to create forms. This proved to be effective in creating three-dimensional constructs, but was not necessary in doing so. The first elimination was the three-dimensional form simply because it was difficult to construct, costly, and was strenuous to transport.

The next item that would be eliminated, not entirely but as a secondary system, was the connector. Through varies study models, it was found that the surfaces themselves could become the tectonic simultaneously and mimic the ideology of a secondary connector. With the remaining two categories, mock up designs began to take place and unfold in different directions. The initial directionality created a kit of parts with numerous pieces that could create different functions and forms. With all of the kits, the decision was made to use a simple biscuit joinery between them to act as the connecting tectonic. This approach was a quick course of action in creating simplified connectable entities. Working at the micro toy scale, limitations of the design were discovered in its unsophisticated linear connectivity outcome. Simply, the pieces did not have the ability to connect back on themselves. Consequently, the first failure in designing an adaptable kit of parts was discovered. The form of the pieces themselves was envisioned to discover possibilities in surfaces with extrusions (much like the octopuses tentacles).

26. - Kit One - Molecular Connectivity 27. - Kit One - Similar Variations

“We must take care not to leave any holes and corners behind which are lost and useless, and which, because they serve no purpose at all, are ‘uninhabitable’. An architect must not waste space by the way he organizes his material, on the contrary he must add space, and not only in the obvious places that strike the eye anyway but also in places that do not generally attract attention, i.e. between things.” Herman Hertzberger

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The extremities became another way of connecting surface to surface as well as a form that could reach to touch. This would be the piece on the surface that touches its surrounding environment (floor, wall, bench, etc.) With this type of extrusion off of the singular surface the pieces became oddly shapes and quite large for their function. Kit One proved to have some usable ideas within its design.

As this became a first step towards design, a quest of exploration piloted to another system type. Exploration of a foldable surface to create an interactive skin became the interest. These studies began with geometric capabilities of the foldable plane. By researching and developing an assortment of different origami surfaces, restrictions of geometries were brought to the forefront. Although morphing the scale of the pieces to create a more visually dynamic entity was conceived, it caused greater issues in terms of its constructability. With all the pieces being a replica of the next, assembly would be simplified. Eventually, the geometry with the least foldable restrictions became the chosen study. After working with form, the next stage called for material investigations and transportability issues of larger scaled surfaces. Small scale mock-ups were created utilizing silicones, rubbers, and acrylics. These studies started to address environmental issues and became a solution to keeping the rain out if needed for enclosure. The possibilities of these origami surfaces are endless with the ability to transform to any geometry and became a solution to creating usable functionality. This is where the other category of the tension system begins to play a role. With the use of a tension member, the mat itself can be altered and played like a puppet at the human scale. This is especially intriguing because it reiterates the ideology behind inactive versus active entities. When resting, the mat is labeled as inactive. When being manipulated via human interaction, the piece becomes active. This notion will later be applied to the other system

28. - Flex Mat - Surface Reactions 29. - Kit Two - Geometric Connectivity

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of Kits. These studies developed into one of the systems labeled the Origami Monster. Revisiting Kit One, a follow up for evolution was in order. Putting aside the previously discussed extremity notion, a new directionality was taking place. The following study focused on sophisticated geometry giving the ability to connect back on itself. By utilizing increments of fifteen degrees and simple mathematics (such as A squared plus B squared equals C squared) Kit Two became capable of building triangles, squares, etc. At this point the kit seemed to be heading in a promising direction put as a singular system had issues. Its aesthetics were dull and the pieces became singularly functional versus members that can engage in a variety of fashions. Additionally, because the design requires the ability to build different constructs, the assemblages need to be built simultaneously from the designed kit. Continuing in this direction led to literal practicality. If a kit of parts was to be capable of building numerous constructs then it had to first build something of familiarity. The approach became designing furniture in pieces to see what those forms could further evolve into. The outcome of these studies was the creation of Kit Three. Kit Three was an experiment to discover how many pieces and what forms it would take to design the majority of functional furnishings in oneâ&#x20AC;&#x2122;s home. It was found that with seventeen unique pieces everything from tables, chairs, privacy walls, book shelves, to bar stools could

30. - Kit Three - Familiarity/Function 31. - Flex Mat - Form/Movement 32. - Flex Mat - Form/Movement

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be constructed. When the kit was deconstructed, it was capable of creating interchangeable sculptural entities and allowed for ones furnishings to be reconstructed to transform existing space. This notion stuck and became known as transformatic furnishings. The ideology behind space transformation allows the ability to host different functions within a single setting. Since all the pieces to Kit Three were designed as two-dimensional objects, the kit could simply be flat-packed under a bed etc. to completely tuck away functionality in any setting. After gravitating in two directions, the intent was to bring the objects to full scale in search of issues with usability, practicality, materiality, transportability, and cost. The next iteration of the culmination of success of the previous kits was the beginning challenge. Concurrently, as the culmination of kits (soon to become 3ReXâ&#x201E;˘) was to evolve, the Origami Monster had to progress within its shadow. An opportunity presented itself in the ability for the two to interact via the simple biscuit connection. This approach allowed the two entities to play off of one another creating a larger more adaptable system. With tension members being present in both systems, the ability for these entities to be manipulated after construction seemed to be a feasible notion. Later on in the evolution of the project, this interaction gets put to the test. 33. - Origami Monster - Spatial Arrangements 34. - Origami Monster - Morph

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5[INTERACTION] Concepts / Conga All the previous mentioned Kits (Kit One, Kit Two, Kit Three) have evolved in the conception of a singular kit. 3ReXâ&#x201E;˘ is a kit of parts (eleven initial pieces) that allows the user to create whatever their imaginations can conceive of. Borrowed from Kit Two, the connector pieces are capable of connecting back on themselves using simple geometric principles. In addition, 3ReXâ&#x201E;˘ maintains the concept from Kit Three of building familiarity. This design is now capable of creating anything from furnishings (material changes enable different functionalities), animalistic forms (dogs to giraffes), airplanes (that can be thrown and fly), to sculptural elements (which can actually be played with).

35. - Presentation - Pursuit in Action

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Another element this design is the Monster, ability to tion laboradded and costs. Unliketo3ReXâ&#x201E;˘ the Origami easily transport. By adding additional punctures in the because of its sheer size (six foot by twenty two foot) pieces (in the form of a circle), a tension member became difficult to transport. Although the design is can attach allitof thebecomes individualthree-dimensional entities together allowing one foldable, then and is difindividual to carry two hundred pieces comfortably. This ficult to carry and deploy. This became a lesson in the is only if the chosen material is point, sufficiently light idea of feasible deployable interaction. At some the scale weight toa accommodate the principal. The chosen mareaches level that becomes cumbersome to migrate. terial for this build is a three eights fluted polypropylene cut via the water-jet. material choice istalks lightweight, safe During time ofThis product completion, of creating to the touch, slightly flexible, and can endure any envian interactive group of designers came to the forefront. ronment in which it is deployed. With the collaboration of Ryan Swanson, Mark Perrett, Michael-Angelo Munoz, and myself, The Urban Congaâ&#x201E;˘ was born. Similarly, our ideas to activate inactive spaces via deployed installations became the underlining concept behind The Conga. We shared a common goal of wanting to activate existing unutilized spaces that people pass on a daily basis with no regards to their existence. The focus became the in between spaces or nodes happening between commutes. The targeted area for our experiments, based on its un liveliness, was and still is downtown Tampa. Like the majority of cities across the United States (evident in other areas of the world as well), something had to be created to encourage physical interaction between residents and visitors alike. Residential towers are continuously built and rarely do these occupants engage in their communities and interact. The catalyst to interaction of the designs is the human engagements and without them, these deployed elements become much like their predecessors (rotting sculptures and public art). The motto behind The Urban Congaâ&#x201E;˘ was simple; Come out and play!

36. - 3ReX- Anticipation/Play

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All the previous mentioned Kits (Kit One, Kit Two, Kit Three) have evolved in the conception of a singular Kit. 3ReXâ&#x201E;˘ is a kit of parts (eleven initial pieces) that allows the user to create whatever their imaginations can conceive of. Borrowed from Kit Two, the connectors pieces are capable of connecting back on themselves using simple geometric principles. In addition, 3ReXâ&#x201E;˘ maintains the concept from Kit Three of building familiarity. This design is now capable of creating anything from furnishings (material changes enable different functionalities), animalistic forms (dogs to giraffes), airplanes (that can be thrown and fly), to sculptural elements (which can actually be played with). Another added element to this design is the ability to easily transport it. By adding additional punctures in the pieces (in the form of a circle), a tension member can attach all of the individual entities together and allow for one individual to carry upwards of two hundred pieces comfortably. This is only feasible if the chosen material is light weight enough to accommodate the principal. The chosen material for this build is a three eights fluted polypropylene cut via water-jet. This material choice is lightweight, safe to the touch, slightly flexible, and can endure any environment in which it is deployed. This is a prime factor in the usability of this product and became an excellent choice for its safety, cost, and possible shipping expenses if needed. The choice to cut all the pieces a singular bright color allowed for it to stand out in any environment and did not suggest any uses of specific pieces through color changes. Although this was the chosen material for this iteration, materials such as

aluminum, acrylics, and other plastics would allow for more structural capabilities and add another palette of aesthetics and uses to the design. From salt water to sun, indoor to outdoor, 3ReX™ can be engaged in any space under any circumstances and become interactive with anyone. While working on the 3ReX™ build, the Origami Monster was coming to life. With the use of the same material, equilateral triangles became the origami net of choice. As the Origami Monster evolved, it acquired some added features. Much like 3ReX™, the Origami Monster utilized circular penetrations to allow tension member interaction and transportability. Moreover, a set of slits was incorporated to allow the biscuit joinery to mold both 3ReX™ and the Origami Monster together. This design also became evident in some of the larger surfaces in 3ReX™ and added another dimension of connectivity to the design. When working with the Origami Monster, a discovery was found that the penetrations found a multifunctional use in allowing a secondary structural system (such as aluminum piping, steel columns, etc.) to engage with the mat. This also became a reality with 3ReX™ and is yet to be fully explored. The singular issue arising with constructing the Origami Monster versus 3ReX was it needed a secondary system to hold it together and allow its movement. The chosen materials for the connector spiders were vinyl and automotive push pins. This combination kept cost down and was easily constructed with the ability to be deconstructed. The complexity of the piece already became an issue of sorts through its added construc-

37. - 3ReX - Deployment/Reactions

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This is a prime factor in the usability of this product and became an excellent choice for its safety, cost, and possible shipping expenses if needed. The choice to cut all the pieces a singular bright color allowed for it to stand out in any environment and did not suggest any uses of specific pieces through color changes. Although this was the chosen material for this iteration, materials such as aluminum, acrylics, and other plastics would allow for more structural capabilities and add another palette of aesthetics use to the design. From salt water to sun, indoor to outdoor, 3ReXâ&#x201E;˘ can be engaged in any space under any circumstances and become interactive with anyone.

38. - 3ReX - Just Play

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While working on the 3ReX™ build, the Origami Monster was coming to life. With the use of the same material, equilateral triangles became the origami net of choice. As the Origami Monster evolved, it acquired some added features. Much like 3ReX™, the Origami Monster utilized circular penetrations to allow tension member interaction and transportability. Moreover, a set of slits was incorporated to allow the biscuit joinery to mold both 3ReX™ and the Origami Monster together. This design also became evident in some of the larger surfaces in 3ReX™ and added another dimension of connectivity to the design. While working with the Origami Monster, penetrations were found multifunctional use in allowing a secondary structural system (such as aluminum piping, steel columns, etc.) to engage with the mat.

This also became a reality with 3ReX™ and is yet to be fully explored. The singular issue arising with constructing the Origami Monster versus 3ReX™ is a secondary system to hold it together and allow its movement is needed. The chosen materials for the connector spiders were vinyl and automotive push pins. This combination kept cost down and was easily constructed with the ability to be deconstructed. The complexity of the piece already became an issue of sorts through its added construction labor and costs. Unlike 3ReX™, the Origami Monster, because of its sheer size (six foot by twenty two foot), became difficult to transport. Although the design is foldable, it then becomes three-dimensional and is difficult to carry and deploy.

39. - Urban - Motion 40. - Conga - After Effects

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This became a lesson in deployable interaction. At some point, the scale reaches a level that becomes cumbersome to migrate. During the time of product completion, talks of creating an interactive group of designers came to the forefront. With the collaboration of Ryan Swanson, Mark Perrett, Michael-Angelo Munoz, and myself, The Urban Congaâ&#x201E;˘ was born. Similarly, our ideas to activate inactive spaces via deployed installations became the underlining concept behind The Conga. We shared a common goal of wanting to activate existing unutilized spaces that people pass on a daily basis with no regards to their existence. The focus became the in between spaces or nodes happening between commutes. The targeted area for our experiments, based on its unlivelihood, was and still is downtown Tampa. Like the majority of cities across the United States (evident in other areas of the world as well), something had to be created to encourage physical interaction between residents and visitors alike. Residential towers are continuously built and rarely do these occupants engage in their communities and interact. The catalyst to interaction of the designs is the human engagements and without them, these deployed elements become much like their predecessors (rotting sculptures and public art).

41. - Insta Playground - Play 42. - Vacant - Lifeless

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The motto behind The Urban Conga™ was simple. “Come out and play!” With the rise of The Conga, the initial experiments were intended to create awareness about our cause and allow us to voice our opinions in the downtown Tampa community. At this juncture, The Conga became a movement! We wanted to start the Conga line and invite designers and artist alike to assist in our creations to bring creative ideas to better their communities. In lieu of 3oRM, Ryan had focused on “The Conversing City” which tackled the notion of the public realm becoming a space that starts a conversation with the human body. His early experiments and designs were tests as to what people would actually take the time to interact with. A deployment of L.E.D.s became the first attempt in encouraging creative art through magnetically connected L.E.D.s dispersed throughout Tampa. The experiment was unsuccessful in the sense that the majority who used and rearranged the pieces would not take the time to photograph and post them online via a QR code link. His future experiments evolved into digital projections and proved to be extremely successful in getting those passing by to stop and interact with the projection. With the use of processing and a hacked X-Box Kinect, he was able to create reactions of human movement and project to large vacant facades located in the in between spaces of Tampa.

43. - Crate Snake - Resilient 44. - Crate Snake - Form 45. - Crate Snake - Curious 46. - Crate Snake - Pull

With the combination of 3oRM designs and “The Conversing City” we were able to gauge what deployments would activate spaces successfully in different scenarios. In addition to Ryan’s experiments, Mark was working on his concepts of creating “The Built Soundtrack”. This study became an outlet of his internal musical talents and passion with attempts to manipulate space through musical endeavors. Ideas such as the bench (which one can play) became his direction in educating the public about sound associated with color and form. With all of our work, Michael-Angelo found his role as a skilled videographer in displaying how these designs are viewed from the outside world. His perspective in space educated The Conga on how people are reacting in terms of different scenarios and the interactions occurring. His vision displays an articulated view of the non-designer perspective with continuous critiques of our outings. During conceptual designs based on a collaborative Conga nature, studies in scale began to evolve. Speculation took place as to how to create an interactive deployable playground unit that children and adults alike can climb on or manipulate. The solution came in the form of the InstaPlayground. With this design, static piping was connected via an pliable connection system which allowed for a flexible rigidity. The design could be easily transportable and assembled with the use of no tools. The materiality for the concept was fiberglass members for a lightweight and rigid construction and the use of rubber for the connectors. Much like the previous designs, the

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47. - 3ReX/Origami Monster- Making Place

biscuit connection would be slightly altered and used to attach the member and connector. Although the design is yet to be built and deployed, it will be the first matter of attack in the following months of this study. Another construct which was built and deployed is known as the Crate Snake. The idea is to use a repetitious form and connect them via a continuous tension member to allow formal and functional manipulations. By using recycled milk crates, the piece was extremely cheap to create and test. When deployed, the creation proved to be successful in its ability to be used by one or multiple users in a single setting. Its ability to create a familiarity of objects (seating, shelving) made the piece relatable to those who have manipulated it. The deployment of 3ReXâ&#x201E;˘ and the Origami Monster proved to be an attractive interactive entity! The tested spaces included Curtis Hixon Park (initial interaction), under the two seventy five overpass in downtown Tampa (night time), at the Engineering Expo at USF, and an array of other miscellaneous crevices. The use of these kits found be extremely successful in their ability to engage team building and attraction of all ages. Finally, father and son could build together outdoors away from the common toy scale at the dining room table. In addition to this success, it was found that the pieces themselves were one of the most appealing toys to maintain a childâ&#x20AC;&#x2122;s attention span. This was found in children with cases of autism and A.D.H.D. simply because of the pieces ability to construct anything and be deconstructed concurrently.

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47 57

Later in its deployment, it was discovered that 3ReXâ&#x201E;˘ had a variety of unexpected applications. The pieces can be utilized to create obstacle equipment such as cones and goals for sports such as soccer and/or training devices. It can also act as a three-dimensional drawing board which performs as a dry erase board. This was interesting because those who used it could sign their mark and feel like they left something behind. This immediately sparked interest with the notion of outside elements being encouraged to interact. This type of analysis is repeatedly under development and always becomes a discovery versus an intention. With many parents interested in purchasing 3ReXâ&#x201E;˘, more discoveries presented themselves on how to possibly package and sell/ship the item. This is when the ability for the kit to evolve and grow created a solution. With the majority of products being sold in leftover (garbage) packaging, the idea became clear to allow 3ReXâ&#x201E;˘ to interact with its packaging system.

It always surprises me how intrigued children are with the packaging or box that the item came in. Unlike the toys they receive, the packaging is something that can be manipulated as they desire. This goes back to the â&#x20AC;&#x153;grab and goâ&#x20AC;? approach by pursuing a design with no final outcome and directions to get there. Even worse, guidelines as to what not do with the toy. Unfortunately, this disposable packaging is thrown out and becomes a detriment to our environment and is simply wasteful. If 3Rex was to be sold on shelves and shipped, the pieces themselves would create the crate in which it rests and have the ability to be deconstructed to become part of the actual kit.

48. - 3ReX+Projection - Alien Factor 49. - 3ReX - The Curious

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â&#x20AC;&#x153;Movement and architecture usually appear in direct opposition - as dynamics and stasis - whereas architecture in general is considered to be static in contrast to the moving human body. The body is not a static component of space but instead, the body is an expression of an intermediate state between subject and object, as a mediating entity between mind and body. The moving and interacting body stands in opposition to the humanist practice whereby the body was considered as fixed and static. Movement generates a non determined concept of space where spatial and bodily boundaries are constantly blurring.â&#x20AC;? Gabi Schillig

50. - Blurring Interaction - Activation

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Additionally, the capabilities of this system could essentially build the shelving units that the crated item is sold on in local stores. This is also a way for the product to be interacted with and tested prior to purchase versus going the augmented route LEGOâ&#x201E;˘ has taken. After carrying and deploying 3ReXâ&#x201E;˘ repeatedly, it has been found that out of the eleven pieces which make up the first iteration of the design, they have all been used for a multitude creations. Although the amount of individual pieces cut would not be suitable for a starter or larger kit to be sold, studies have shown that the creators utilize certain pieces over others. This is not because of their capabilities; it is because it allows for the scale of the object to get larger. In the realm of toys bigger is always better!

51. - The Conga - Creating Place

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6[PROSPECTIVE] Scaled Studies

The previous works of this study covered the mini, micro, to meso scales. The following explores the possibilities of progressing the interactive systems to a meso, macro, to mega scale (mega scale indicating repetition of smaller scales). This study is a step towards a lifelong endeavor of creating an interactive functional architectural model. In a previous case study, Marc Fornesâ&#x20AC;&#x2122;s Recursive Subdivision displays an understanding of how static architectural elements can be scaled down to allow human interaction. This approach would permit the growth and metamorphosis of building elements to have the ability to alter spatial arrangements and active the public realm. Ultimately, this creates social interaction and encourages more personalized spaces in a static design. These explorations attempt to discover workable notions of a static architecture transforming into a dynamic entity.

The scale jump in this study is not based on a repetitive recursive subdivision of scale but more about implementing previously designed elements to understand what other systems need to be integrated to achieve this. By attempting to increase the size of the installations, a better understanding of architectural complexities will be explored. In the early stages of conception the 3oRM protein molecule was broken down and analyzed to improve perception of how its elements actively worked together. In this analysis, the structure of the molecule was directly translated to functioning architectural elements based on the roles each play in relation to one another. Although the chemical combination of 3oRM is made up of carbon, hydrogen, nitrogen, and oxygen these elements are structured with other rudiments creating a greater whole. â&#x20AC;&#x153;The essential Mycobacterium tuberculosis Ser/ Thr protein kinase (STPK), PknB, plays a key role in regulating growth and division, but the structural basis of activation has not been defined.â&#x20AC;?2

52. - Section Study - Facade Possibilities 53. - Section Study - Vacant Space

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54. - Section Study - Climbing 55. - Section Study - Relations 56. - Section Study - Personalize

In a simple depiction of the complexities of the protein, there are four distinct levels of protein structures (primary structure – amino acid residues, secondary structure – highly regular local sub structures – helix & sheets, tertiary structure – three dimensional structure of a single protein molecule, and quaternary structure – “is the three-dimensional structure of a multi-subunit protein and how the subunits fit together.”11 The relations between these systems is beneficial in understanding how physical elements will interact with one another creating an active model. Much like any kit of parts, in relation to the molecular protein, “the sequence of a protein is unique to that protein, and defines the structure and function of the protein.”11 Any one added element can alter the direction and functionality of the system as a whole. This pertains to both molecular and physical elements. Breaking down the systems of the protein molecule called for a simplified understanding.

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57. - Section Study - Using Infrastructure 58. - Section Study - Public Realm (Beach) 59. - Section Study - Personalize

To further abridge the structure, the primary system is an evolution of amino acids that in sequence evolve into the secondary structures. In repetition, or polypeptide chains, the molecular structure is repeated creating the chain of the protein. This chain (secondary structure) is categorized into two important structural features of the protein molecule which are known as helices and sheets. Helices are found in the common form of the spiral helix while sheets are found in angular folded planes. Both are recognized in the secondary system and are present in the build of the molecule. â&#x20AC;&#x153;Tertiary structure refers to three-dimensional structure of a single protein molecule. The alpha-helices and betasheets are folded into a compact globule. The folding is driven by the non-specific hydrophobic interactions, but the structure is stable only when the parts of a protein domain are locked into place by specific tertiary interactionsâ&#x20AC;?11 The final system is the quaternary structure which in short, is a culmination of multiple tertiary structures creating a holistic complexity of protein molecules. With these systems clearly defined relations between physical architectural elements needs to reenact these sequences of molecular systems.

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The deconstructed 3oRM protein molecule gives insight on connectivity, relations, evolution of elements, and overall complexities between systems and their likely outcomes. The next iteration of the design is to add specific systems to accommodate the scale change and allow for a flexible rigidity that encourages interaction. The outcome was a breakdown of the systems that translated into a new functional autonomous building model based off of five components. Getting away from the chemical terminology, medical terminology will be best suited for the understanding of the following system. Based on the human body, the previously designed systems comprised of the growth or the skin (3ReXâ&#x201E;˘) and the muscle (Origami Monster). The new integrated systems tie them together while adding a more rigid solution to the scale change. The first added component to the system is that of the bones (structural pipe members). These allow for larger constructs to be feasible and for a rigidity that is needed for safety within static architecture. The next system is the ligaments (connectors â&#x20AC;&#x201C; made to either be flexible or rigid) which attach bone to bone. The final added element is that of the tendons (tension members) which attach the muscle (Origami Monster) to that of the bones (structural pipe members). With these combined elements, the possibilities for the structure to grow and be manipulated at any desired scale is viable.

60. - Systems Construct - Manipulation 61. - Systems - Elements

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These systems where examined and studied in section and model in a variety of settings (mainly urban). The chosen sites for these studies are in between spaces or vacant areas in which 3oRM would activate. Additional gestures included inside/out, above/below, between/ beyond, and out/open. These types of interactions label how 3oRM is integrating itself within the larger whole of its environment. This is especially important with understanding who will be creating the interaction with 3oRM in its desired deployed locations and what that will be doing for the relationships of the adjacent entities. The intention is to create commensalism between the deployed entity and its built existing surroundings.

62. - Systems Construct - Play 63. - Systems Build - Use!

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7[IMPENDING] Application

The final studies of this process explored the possibilities of creating a dynamic architecture versus traditional stasis. As the scale of architecture grows, the complexities that arise call for added systems. In addition to the previously discussed systems, the folded oblique plane was added in the architecture to achieve occupational surfaces for inhabitants. ”The oblique is idealized as the field where the corrupted by the static architecture of horizontal-vertical intense spatial perception is re-gained, by a kind of eroticization of the ground. Architecture will no longer be dominated by the visual, the façade, but will relate to the human body as a receptive totality. ”14 This enabled circulation for the user to reach new heights of interaction. It also illustrated the probability of utilizing circulatory corridors as interactive and adaptable spaces. The in-between or shifting spaces within a static environment offer a place of passage for interaction to occur habitually.

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With the goal of creating place in vacant in-between spaces in evolved in the design. The realization of achieving a dynamic entity was in sight. Among all the interrelated systems it was evident that the original two developed systems (3ReX™ and Origami Monster) became the interactive answer to a static architecture. The ability for the skin and the growth (Origami Monster and 3ReX™) to develop within space is a solution to human interaction with static architecture. By accomplishing human scaled building components within a static design, the architecture can periodically evolve changing the application of the space and its décor. This is especially important in communal spaces within a buildings environment. Furthermore, this becomes a catalyst to addressing urban edging and activating its adjacent context through invitation; encouraging social interaction. The creation of these constructs called for the “wow.” factor through contemporary aesthetics to add curiosity to the ambler. The more unfamiliar or bizarre the piece is within its setting, the more fascinated the human is to interact with it. This approach attracts attention and reassures the user, “something different is happening here.” Throughout this study, the unfamiliar transforming to the familiar is the aspiration.

66. - Symbiosis Model - Between 67. - Symbiosis Model - Between Compressed

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After eight months of curiosity, study, and play, the project produced more questions than solutions. This nonlinear approach to research proved to be one of similar values of interaction itself. When interaction occurs it is never strictly linear. Loops within discussion and movement take place to offer more discovery than that of a linear approach. When those interact, they do not learn everything in a chronological or relative order but by the interaction at hand in the moment. The deployment of the built objects proved that play is more evident with interaction. The design of 3ReX™ and the Origami Monster displayed success in its value of scale and their abilities to interact with a multitude of people from all ages. This is stage one towards creating dynamic entities within the architectural profession and design fields.

68. - Symbiosis Model - JuxtaposingSpace 69. - Symbiosis Model - Residence Interaction

“All buildings are temporary: all have some sort of life cycle and reflect the technology, customs, and economics of the times. Buildings are also linked in a continuum of material evolution and accomodation to change. Yet a building reflects its time as clearly as do film and music. Buildings straddle periods, relating to evolving futures while swimming in the wake of the past.” Craig Hodgetts Hsin-Ming Fung

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8[LIST OF FIGURES] 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

http://optiknerve-gr.deviantart.com/art/metamorphosis-007-202658722 http://gallery.minitokyo.net/view/478772 http://outright.bigcartel.com/product/dedication-7-inch Studio Space – Brennen Huller (photograph) http://www.jorge-ayala.com/2011/10/nicola-formichettipop-up-store-nyc_08.html http://matsysdesign.com/2009/06/25/flux-architecturein-a-parametric-landscape/ http://aaronbrownsdon.wordpress.com/2012/11/13/parasitic-architecture/ http://understreet.wordpress.com/2012/11/30/harvestthe-citys-spoiled-energy/energy-parasite-by-michaelrakowitz-1/ http://www.grasshopper3d.com/photo/pomegranatecoffee-shop?commentId=2985220%3AComment%3A74 6667&xg_source=activity http://rosssimmonds.com/2010/04/17/provocative-legoads-%E2%80%93-did-they-go-to-far/ http://www.geekalerts.com/littlebits/ http://www.parrygamepreserve.com/features/conventions/toyFair2009/uberstix.php Ferrofluid – Brennen Huller (photograph) Blobwall – Greg Lynn - http://blobwallpavillion.wordpress. com/category/uncategorized/ http://haldanemartin.co.za/polyhedra-coffee-table/ http://wallpaperbackgrounds.com/wallpaper/2906 Flow-Ripple – Brennen Huller (Drawings) ( http://bureau-spectacular.net/711_WELEPHANT.html) ( http://bureau-spectacular.net/711_WELEPHANT.html) (http://transform-mag.com/ps/aperiodic-vertebrae-v20-by-marc-fornes-and-skyllar-tibbits) (http://transform-mag.com/ps/aperiodic-vertebrae-v20-by-marc-fornes-and-skyllar-tibbits) (http://theverymany.com/exploration/08-recursivegrowth/) http://archleague.org/emerging/2007/ http://archrecord.construction.com/archrecord2/ design/0812/0812AEDS/02.asp Kit One – Brennen Huller (Model) Kit One – Brennen Huller (Model) Kit One – Brennen Huller (Model) Flex Mat – Brennen Huller (Model) Kit Two – Brennen Huller (Model) Kit Three – Brennen Huller (Model) Flex Mat – Brennen Huller (Model)

32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72.

Flex Mat – Brennen Huller (Model) Origami Monster – Brennen Huller (Model) Origami Monster – Brennen Huller (Model) Presentation – Brennen Huller (Design/Build/Models) 3ReX – Brennen Huller (Design/Build) 3ReX – Brennen Huller (Design/Build) 3ReX – Brennen Huller (Design/Build) The Urban Conga – Mark Perrett (Photography) The Urban Conga – Mark Perrett (Photography) Insta-Playground – Brennen Huller (Rendering/Montage) Vacant Lot – Brennen Huller (Photography) Crate Snake – Brennen Huller (Design/Build) Crate Snake – Brennen Huller (Design/Build) Crate Snake – Brennen Huller (Design/Build) Crate Snake – Brennen Huller (Design/Build) 3ReX – Brennen Huller (Design/Build) The Urban Conga – Mark Perrett (Photography) The Urban Conga – Mark Perrett (Photography) The Urban Conga – Mark Perrett (Photography) The Urban Conga – Mark Perrett (Photography) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Molecular Sections – Brennen Huller (Drawing/Model/ Montage) Systems Construct – Brennen Huller (Design/Build) Systems – Brennen Huller (Model/Montage) Systems Construct – Brennen Huller (Design/Build) Systems Construct – Brennen Huller (Design/Build/Render/Montage) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Symbiosis Architecture – Brennen Huller (Model) Fractal Study – Brennen Huller (Design/Render)

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12. Schulte, Karin. Fliegende Bauten: der Messestand als konzeptionelle Aufgabe = Temporary buildings : the trade-fair stand as a conceptional challenge. Stuttgart: Avedition, 1997. 13. “Uberstix About.” Uberstix. (http://www.uberstix.com/ ABOUT-US.html) (accessed April 30, 2013). 14. Vyzoviti, Sophia. Folding architecture: spatial, structural and organizational diagrams. Amsterdam: BIS, 2003. 15. “What is littleBits.” littleBits. (http://littlebits.cc/about (accessed April 30, 2013). 16. “White Elephant.” Bureau Spectacular. bureau-spectacular.net/711_WELEPHANT.html) (accessed April 13, 1930). 17. “transform-mag.com.” transform-mag.com. http:// transform-mag.com/ps/aperiodic-vertebrae-v20by-marc-fornes-and-skyllar-tibbits (accessed April 30, 2013).

72. - Fractal Design/Render - Curious Chaos “If people knew how hard I worked to achieve my mastery, it wouldn’t seem so wonderful after all.” Michelangelo

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