Morphing Fluid recursion - interior design concept

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P17

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GLOBAL SENSE OF PLACE Boundless to the understanding of its character is the enriched sense of place.....

The global sense of place theory does not limit place to a physical boundary, but allows for place to become a concept with unique identities, remaining inclusive and ever dynamic. Place theory decodes space in relation to the local and global scale in which it exists. A global sense of place cannot be compressed by the powerful geometry that is time.

E X P L O R E

Doreen Massey

P R O J E C T

Collage Illustration by: GG Gourgel

Authors: Gelmira Gourgel/ Hannah Reinhardt

P17 Place Theory by Massey: Global sense of place Theory I and Principles

Theory I

The prevailing perception of place in the human mind is

A global sense of place theory by Massey, does not limit place to a

undefined, remaining disconnected and ambiguous. The notion of

Cultural identity

place is characterized by individual experiences and responses,

Social interaction Community

yet shaped by global scale occurrences. In design, especially interi-

physical boundary, but allows for place to become a concept with unique identities, remaining inclusive and ever dynamic. The new definition of "place" provides flexibility, inclusivity, and perspective for

or design, it is important to consider place as a multi faceted iden-

understanding place

tity, influenced by the increasingly globalized communities we

modern

day

place

in

relation

to

time-space

compression. Place theory decodes space in relation to the local and

dwell in. Every person’s experiences with and placement in

global scale in which it exists.A global sense of place cannot be

time-space compression varies, reinforcing the individuality of

compressed by the powerful factor of time.

place experience. It is imperative we redefine place in the modern context, considering factors of geographic fragmentation and spatial disruption. Massey’s “Global sense of space theory”, addresses the idea of place in relation to social trends relevant to the global stage. Analyzing how advancements in transportation

The spectrum of sense of place Sense of connection

Within this diagram we can see that there are several layer that sorround the concept of place and that these layers are beyond what can physically see.

simultaneously connect and disconnect entire communities.

Moving people, moving trade, and moving news, place becomes an ever adapting space never bound to a physical location. The perception of place must not draw boundaries. Within interior

Within our exploration there were three key aspects that interested us specially on how the application of these aspects in relation to the sense of space within the interior design

sense of place

Person & Place

Place <> space

matter. the three aspects of our exploration are:

design teachings, this place theory provides principles to redefine what place can be with modern technological advancement.

space has no physical boundaries (Placelessness)

Addressing our lost sense of locality, and striving to redefine a

the power-geometry of time-space compression

global sense of the local, and a global sense of place.

Scale of locality Vs global

Time space compression

Massey, D., 1994. A Global Sense of Place. Minneapolis: University of Minnesota Press. Ella O’Brien

P17 Place Theory by Massey: Global sense of place Principles

Analytical Thought

Space Has No Physical Boundary

Doreen Massey was a scientist, geographer, and former

The Global Sense of Place is aided by the idea that space has no

professor of geography at The Open University. Massey

physical boundary. Cultures, and therefore design, are connected through

time-space

compression

with

technology

such

spearheaded the theory of a global sense of place, challenging

as

our assumptions about what composes and what identifies

smartphones, television, and the internet. Connection between

place.

people drives place-creation rather than proximity and borders. With

Placelessness, in our ever increasing world of

globalization, there is a loss of uniqueness in the non-material

connectivity, in which physical walls seem scalable and

context of place.

barriers breakable, becomes ever evolving. If privileged enough

Power-Geometry of Time-Space Compression

to have access to a cell phone, one is instantly connected,

Within the power geometry of time-space compression, social groups

perceiving life thousands of miles away. How does this

that already possess mobility and power use this combination to

translate into transportation accessibility? During a bus ride

retain mobility and power; whether through cultural, economic, or

one physically encounters another whom one hundred years

resource exploitation. The globality of place is reinforced through this

ago, would have been impossible to cross paths with, in

practice, albeit those with power dictate which cultural and design

relation to time-space compression. By eliminating barriers,

pieces are added to the global sense of place.

Rates of Travel This diagram is an extraction portrays how far time-travel compression has come, illustrating rates of travel from New York migrating West.

Scale: Global vs. Local

are we removing cultural identity of place, substituting with an abridged model of modernity?

Scale affects how place is perceived. Places can have smaller, more specific spaces within them. Lastly, viewing global influence impacting

the

makeup

of

local

scale

communities

and

neighborhoods and studying the overlap and impact on one another

Massey, D., 1994. A Global Sense of Place. Minneapolis: University of Minnesota Press. Ella O’Brien

P17 Place Theory by Massey: Global sense of place Connectivity of Space We revere a structure considered a timeless masterpiece. A

Massey redefines place theory, portraying present-day life, one

modern build detached from a physical site, inherently able to

that breeds optimism and celebrates differences backing

display placelessly in the world. The built environment must

global inclusivity. For the entirety of the theory, Massey

balance between exhibiting global influence, and inspiring

globalised the Kilburn Hill Street in North London, the physical

locality. Place must exemplify contemporary imbalance in power structures, while adhering to an identifiable profile.

Placelessness and globality go hand in hand. Massey’s theory contradicts David Harvey and other Marxists, who portrayed globalisation negatively.

The fortunate are able to move, globalizing the makeup of cities, having the power to change while the less fortunate are left out, observing and adapting to the change. The current definition of place is a living manifestation of this

site

and

prime

expression

of

intermingling

domestic

interaction with global development. Community no longer consists of individuals who reside in proximity, community emerges as persons who have similar interests or challenges, finding strength in commonality.

Massey highlights that scope of place reaches far beyond place itself, delving into place and time interactions, community, flight, and rediscovery of refuge.

contemporary imbalance of place relationships. .

Spatial Connectivity This diagramatic map is an indicative of the main airports servicing New York City. The diagram simplifies how these airports influences and culturally blends local scale across New York City.

Massey, D., 1994. A Global Sense of Place. Minneapolis: University of Minnesota Press. Ella O’Brien

P17 Place Theory by Massey: Global sense of place Proximity of Space

Immateriality of Space

While one of the main aspects of the Sense of Place is

In line with place attachment, placemaking can be examined

Placelessness, individuals will still feel place attachment to a specific

through the lenses of “social” and “physical”. The two

place. Whether it’s the place you grew up, your favorite vacation spot,

categories of placemaking that refer to the concepts attached to social and physical are the Place-Centered Approach and

or the city where your first job was, there are several places that can

Design-Centered Approach, respectively. Place-centered is

inspire the feeling of place attachment. Massey’s Placelessness does

community driven, reliant on each of the pieces of community

not deny cultural differences between places, rather that social

design to come together and allow for social interactions to

interactions are connected much more than one would imagine if

thrive within the place. Taking a Design-centered approach

places had a defined border. For example, one who feels a sense of

only limits inclusion, growth, and diverse interactions. If a

place attachment to Harlem, New York cannot deny that it is shaped

design is made by one person or group, specifically for one

by its close proximity to the Bronx, as well as its placement within

person or group, it isn’t difficult to imagine who that design will

Upper Manhattan. But it is distinct in the sense that the Black

serve. The collective of a place, each group working together to

cultural ideas, art, and music influenced much of Black America

continually craft, strengthens the place placemaking and thus

throughout the 20th century. This is where we can see that the social

form stronger place attachment for those experiencing the

interactions of place attachment are stronger than the physical, fuzzy “borders”.

Rates of Globalization This diagram is an Abstraction of the exchanges between international

place.

and local ideas, showing influence of globalization on a specific location.

Massey, D., 1994. A Global Sense of Place. Minneapolis: University of Minnesota Press. Ella O’Brien

P17 Place Theory by Massey: Global sense of place Precedent I “A SENSE OF PLACE OF AMSTERDAM” Designer: Studio Colorado

The print describes philosophical varying levels of tolerance in Amsterdam, with the resulting conclusion of leaving no one hiding in plain sight. Perspectives works to retain a sense of locality, while spatial disrupting the landscape. This precedent

Concept:“A Sense of Place” serves as a canvas for twelve global artists

remains relevant as it portrays global connectivity in local

in discovering their sense of place. This medium allows for

scale, a delicate balance between two highly contrasted place

discussion, delving into cities and cultures ordinarily unknown. Art

ideals of Massey’s exploration. We agree with the intent of this

binds the artists together, each artist with particular experience creating in a personalized setting. Studio Colorado’s print portrays intermingled windows between the designer's home and studio workplace. The repetition and color variance toy with perception and perspective, hence the name. This work embodies the principle of

piece, although would not have grasped the significance without the text description. It would be enlightening to see photographs of the artist studio windows upon which this artwork is based. The sense of locality is illustrated in the

multiples living in unison in confined spaces, the notion of people

concept of the local artist’s daily commute, the spatial

entwined in situational places.

disruption exhibited in the physical distortion of the windows on the daily commute.

A Sense of Place ‘illustration book’ Carlson, C. (2019, May 01). 'A sense of Place': 12 designers pay homage to their home towns. Retrieved March 18, 2021

P17 Place Theory by Massey: Global sense of place Precedent II “ MINDING THE DIGITAL”

Designers: MVRDV collaboration with Thonik

Concept: Vornoi shaped leaves derived from nature are connecting one with nature. In this exhibition, designers portray this concept as the digital take over of spatial interaction.

Philosophical ground: The notion of a no boundary place situated in reality. Elaborating on how digital design persuades interaction among each other and on the global scale.

In practice, a suspended mesh network conveys connections in the web. Revealing China’s global shift from historic manufacturing to the current-day innovation hub.

When we think of the psychological implications on what Massey refers to as “progressive concept of space” (155), her assertion that spaces are “conceptualized in terms of the social interactions which they tie together” and therefore not frozen in time, “could be thought of as processes” (155). The digital process of connecting through compressed time space, in this case using the world wide web, is a place. Further analyzing

Vornoi shapes diplay diagrams & detail picture

Massey’s theory, place in the physical world is not homogeneous, but consisting of fragments of a globalized world, while retaining some locality of culture.

News, W. (2018, January 23). MVRDV completes Labyrinth-Like exhibition space With COLOUR-CODED rooms in design Society Shenzhen. Retrieved March 18, 2021

P17 Place Theory by Massey: Global sense of place Precedent III “GEODESIC DOME” At its core, the project aims to remove traditional tourist attractions from the observer’s Washington D.C. experience

Designer: Jeanette Sawyer

and allow them to connect with anyone experiencing the exhibit alongside them. For these populations of tourists and

The designer moves to create a sense of place through five senses.

locals to experience their senses together at a basic level, the

The sense of place in each exhibit is the one sense that the

designer has chosen to remove the freedom of mobility from

designer singles out from others. Observers within these spaces

tourists that would normally only experience the monuments

are expected to feel a connection through this sense. Sensation is

and traditional D.C. attractions.

the most essential aspect of human experience, as it allows us to participate with the surrounding environment.

Interior images of tthe Dome structure

The exhibitions within the Geodesic Dome project support Massey’s idea that “mobility, and control over mobility, both reflects and reinforces power” (150).

Graduate thesis : Sense of place - jeanette sawyer portfolio. (n.d.).

Retrieved March 18, 2021

P17 Place Theory by Massey: Global sense of place Precedent III

By focusing on sensation as the main driver of sense of space, the designer is pushing connection through an experience other than a shared heritage of the area. The spaces are arranged in order to drive people by their senses. This technique further explores Massey’s thought that spaces are borderless by connecting people no matter what their origin or background. No longer are tourists or locals separated by power geometry and the busy destinations of

In this project, one place is used but modified and adjusted to be adequate for several activities that activate sensory responses. Using the senses to create the sense of place

D.C., they are connected through a sense that every human is born

directly relates to space having no physical boundary. If the

with.

exhibit were not at the location, there would still exist several connective non-material placemaking qualities.

Graduate thesis : Sense of place - jeanette sawyer portfolio. (n.d.).

Retrieved March 18, 2021

P2 Fractals Theory Theory II and Principles Theory Introduction

Fractal Theory Principles Scale (continuation)

Fractal Theory by Richard P Taylor, investigates how fractal

As a tree repeats its branching from the trunk, the scale of the

relationships in nature and mathematics play a significant role in

repetition diminishes. Scale is critical to fractals because there must

human aesthetic preference. There are three main fractal compo-

be a scalar quality to the pattern for it to be represented as a fractal. In

sitions, natural, mathematical, and human fractals. Fractal charac-

which brings us to the concept of infinity. Fractals can repeat

teristics are quantified by a parameter called the fractal dimension

themselves into infinity as the scale of repetition continues.

D, elaborating on human connection and preference for fractal

Self-Similarity

patterning. Through fractal fluency, as humans we have adapted to

In mathematics and fractals alike, patterns are exhibited as exactly or

mid-range fractals, being able to visually process characteristics at

near exactly similar to a part of the whole. Many objects exhibited in

ease. Through extensive research, Taylor (2006) uncovers a reduc-

nature and mathematics carry this trait, such as tree leafs and

tion in the observer's physiological stress levels after viewing frac-

complex algebraic equations. Fractals are known to exhibit

tal pattern.Taylor’s theory serves as motivation to trigger further

self-similarity, the fragmented geometric shapes can be split into

investigation into fractals. Fractal pattern plays a fundamental

parts, with each part being a reduced-size copy of the whole geometry.

role in understanding the way human perfection and appreciation

Feedback Loop

of art are influenced by the surrounding natural environment.

Scale

Within our exploration we were able to identify two key aspects

There are several characteristics of fractals that are integral to

that are embeded with the science of fractal/ factal patterns that

understanding

are:

Recursiveness,in fractal characterization, is

and

identifying

their

use

in

design.

the act of

Scale

repeating a pattern within the design. But it isn’t simply

Self-Similarity

spreading out the pattern across a design, the pattern must

Feedback Loop

continue from a basal form of the pattern and subsequently apply to itself at several scales.

Fractals operate on the feedback loop principle. A simple procedure commences with a geometry, then is fed back into the procedure once more. This process builds upon itself, repeating an infinite amount of times. The result of this process is what we term a fractal, it is the result of the self multiplication. Fractals consistently attempt to model complex processes by way of simple procedure.

Taylor, R.P. (2006). Reduction of Physiological Stress Using Fractal Art and Architecture. Leonardo 39(3), 245-251.

P2 Fractals Theory Physiological Response

Contemporary Study of Fractals

Fractal geometries are successful in quantifying complexities

The fractal theory consists in the visual interpretation and

exhibited in natural patterns, created from repeating patterns at

investigation of the aesthetics and intricacy of fractal patterns

finer and finer scale. Fractal theory pertains predominantly to the

derived from nature through the merging of art and science evolved within the fractal element. Furthermore, the theory defines its study

bond between art and the natural world, by way of fractal pattern.

through the belief that the application of fractal patterns in art and

Fractal geometries exhibit success demonstrating complex

architecture could possibly have a positive impact on an individual’s

structural qualities of natural patterning. In Taylor’s chaotic

body reactions to hectic situations. Richard P Taylor is a Professor and

pendulum experiment, 95% of participants prefer fractal to

head of the Physics department at the University of Oregon as well as

non-fractal patterns. The preferred fractal dimension D being 1.3 to

Phd in Physics and artist, who has been studying the fractals patterns

1.5, correlates with patterns found in nature, for instance clouds

through an interdisciplinary lens. Through his work, Taylor combines

and coasts. Fractal fluency must optimize to suit observer

the artistic and scientific sense of fractals and how they come to exist and be created. The understanding of fractals is an idea that goes

capabilities by lowering stress. Taking only ten seconds to view

before and beyond the human eye. It is resultant of the primary origin

fractal patterns has been scientifically proven to imbue the

of the fractal thought being extracted from nature’s creation of this

observer with the physiological lowering of stress levels. In the

element that is embedded within the growth and flourishment of

practice of design, there are two significant approaches to

nature. Fractal patterns can be thought of as scripts that nature writes

implementing fractals into building design. Building framework

to create its image. Following, the Fractal Theory by R.P. Taylor came

may be constructed upon fractal geometry, or fractal designs

about through the basic question regarding; how does imagery affect

implemented in the design by secondary means of paint, lighting,

the physical response of the observer?

or attached structure. Done properly, the fractal pattern must inherently repeat at different visual scales.

Koch Curve Fractal One of the earliest described fractals, the koch curve is a progressive series of triangular geometries. The initial triangle is multiplied with triangles added symmetrically on the outer bends of the triangle. The end result appears as a snowflake design motif.

Taylor, R.P. (2006). Reduction of Physiological Stress Using Fractal Art and Architecture. Leonardo 39(3), 245-251.

P2 Fractals Theory Practical Application of Fractals Studies show that an estimated 25% of Americans are stressed, which

Fractal relationships are not a result of contemporary

has given rise to the intention of introducing stress reducing imagery

invention. Fractals are portrayed in cultures spanning several

into interior spaces. Taylor’s basis for seeking fractal patterns in

centuries, from Roman to Incan civilizations. Patterning and

nature came from the idea that many paintings and window views

fractals work in unison with cultural motif and symbolism,

use natural scenery as an aesthetically pleasing compliment to a

these motifs predate the mathematical patterns used to explain their visual qualities. Acclaimed individuals who

space. One of Taylor’s discoveries is that while fractal patterns are

made momentous impact with fractals include Leonardo da

found in nature, the quality of “naturalness” in an image does not

Vinci, and Jackson Pollock of the 20th century. When applying

necessarily convey fractal aesthetics. In design, interior designers

paint to canvas, Pollock’s paint pouring technique followed

and architects can serve to create aesthetically pleasing scenes with fractal imagery.

The Chaotic Pendulum Taylor’s tool to mimic John Polluck’s painting style in order to create fractal and non-fractal images.

intense iteration of dynamic body motion. Pollock reflected on his art exclaiming “my concerns are with the rhythms of nature”. The Mandelbrot Set develops into a highly publicized

An intriguing point raised in the article is that of the benefits of

mathematical explanation of fractal intricacies. A key

subtlety in fractal use in design. Instead of using fractal aesthetics as

precedent of mathematical drawing explaining the nature of

the central focus of a space, as a feature that is clear to the observer,

patterning. Taylor draws attention to fractals in the modern

designers can incorporate fractals into background space. In the

day, emphasising humanistic benefits of fractals in design,

perception studies mentioned, subjects saw stress reducing effects

while simultaneously paying homage to centuries of fractal

after viewing fractal images for fewer than 10 seconds Taylor (2006).

iteration.

This allows for a wide range of practical applications, such as fractal patterns placed along hallways in hospitals.

Fractal Evolution Display of branching qualities in trees. Fractals are found throughout natural systems.

Taylor, R.P. (2006). Reduction of Physiological Stress Using Fractal Art and Architecture. Leonardo 39(3), 245-251.

P2 Fractals Theory Fractal Organization Science & Arts Art/Culture/Architecture

Recursive line replacement Eglash (2005)

LOGONE- BIRNI Eglash (2005)

Fractal Architecture

While many indigenous cultures have geometric designs embedded in art and architecture, African architecture is unique in which there are intentional fractal patterns found throughout different cultures in the continent. The differentiation lies within the fact that the African architectural designs are patterns at varying scales. Within this case of the earliest fractal history, people were using it to connect them to their location, culture, and beliefs. Eglash (2005) The use of fractals is at the center of their sense of place. From their clothing designs, hair

Base shapes

LOGONE- BIRNI Eglash (2005) Fractal Architecture

styles, building paintings, and city layouts, these fractal patterns

Spirals in Cellular automata Fractal Architecture / art

Eglash (2005)

migrated with the African peoples as they moved throughout the continent and beyond.

For example, “Eulerian Paths” have actually been practiced for

Base shape

centuries by the Chokwe peoples of Angola. These patterns are algorithmic, requiring no line to be traced and the drawing tool to never be lifted from the canvas. This action has been integrated into

Multiplication of base shape at different scales

cultural rituals as children age they learn the next pattern and religious belief along with it. Algorithmic, repetitious fractal designs permeate culture within the African content.

Multiplication of base shape at different scales +

Eglash, R. (2005). African Fractals: Modern Computing and Indigenous Design. New Brunswick, NJ: Rutgers University Press.

P2 Fractals Theory Fractal Organization Science & Arts Nature

Math/Geometry in

Complex geometric shapes with a fractional dimension are

nature embody constants both random and scalable. Being infinitely

considered mathematical fractals. Distinct from classic ideals

Nature is the original creator of fractal patterning. Elements

complex, fractals are composed of the same patterning at all levels of magnification. As humans, we have evolved in these sensory rich fractal environments, our surroundings becoming one of a fractal sensory experience on a multitude of scales. Fractals serve as the method of organization for the natural world, and one that we mimic in the built environment. Not only aesthetically pleasing, fractals are hyper-efficient and allow plants to maximize sunlight exposure.

of

Euclidean

geometries,

they

depict

many

irregular

geometries and spatial nonuniform entities such as coastlines.

Fractals are first exhibited in cultures, then outlined and reasoned with by way of mathematical theory. Mandelbrot coined the term fractal, and was a key role in observing fractals as an ideal tool for modeling. The mathematical parameter fractal dimension quantifies Mandelbrot’s discoveries. The human preference is a fractal dimension between integers 1.3

Precedents in nature include the leaves of a fern, ice crystal

to 1.5, this integer ultimately defining the complexity of a figure.

formation, and even garden vegetables.

Our conclusions from our studies on fractals point to their relevance in architecture and interior design based on their ability to shape perception of space. We believe that mastering the application of these patterns could have quite profound effects on people’s spatial experience in today’s society. As fractals have existed in several African civilizations for centuries, consequently, when looking into fractal design for the future, we may learn more about its use and application by studying the past.

P2 Fractals Theory Precedent I “THE LOUVRE ABU DHABI MUSEUM”

In practice, a double-dome of 180 meters of diameter, engraved with randomized layers of patterns based on Arab fractal patterns create

Designers: Ateliers Jean Nouvel

punctured light and shadow schemes that sit on top of the series of display rooms and semi outdoor spaces that allow the visitor to

Concept: The conceptual idea behind the louvre museum in Abu

experience peace of mind while in the Louvre. When contemplating

Dhabi is the idea of using a thermal balance for the arts being exhibited and the visitor’s spatial experience throughout the

about the psychological connotation, we reflected back to some of

museum by creating and curating a poetic light scheme, sourced

these ideas discussed by R. P. Taylor. In his fractal theory, he points out

from natural sunlight, that is projected from the dome-like structure, which exists in a unique fractal Arab pattern, inspired from the amazing culture where the museum is located. Such concepts were used so that at the end, visitors would experience a tranquil, yet complex, promenade throughout the museum.

Philosophical ground: The philosophical ground behind the

“... observers’ psychological conditions might be influenced positively

Abu Dhabi museum design is the objective of using Arab fractal

by fractals…; natural scenery represents a small subset of fractal

patterns as a vehicle to transmit serenity and peace of mind.

images that might be effective in stress reduction... “ Taylor (2006).

Such concept comes from the power that fractals have in calming the human mind. In which is an idea that also translates to the Arab patterns in which symbolize the Islamic interpretation of divine serenity to God.

Base shapes

Fractal formation

Base fractal

Fractal Multiplication

Furuto, A. (2012, November 26). The Louvre Abu Dhabi museum / ateliers Jean Nouvel. Retrieved April 12, 2021, from https://www.archdai-

ly.com/298058/the-louvre-abu-dhabi-museum-ateliers-jean-nouvel?ad_medium=gallery

P2 Fractals Theory Precedent I The terrace and white rectangular walls serve as the main patterns identifiable, but they themselves serve as a manipulator and canvas of naturally occurring light, respectively, which in turn uses nature to create another identifiable pattern. Looking beyond, as technology and computing power progresses, will future buildings and spaces be generated using artificial intelligence and algorithms to determine aesthetic pleasure? If so, how would the human experience and history of fractal use be kept and applied with this technology?

The fractals pattern presented within the Louvre Abu Dhabi design affects the idea of applying fractal patterns to reduce stress and can be effectively implemented within architectural design. The design of the Louvre Abu Dhabi reiterates Taylor’s point that fractal images are not entirely stress reducing based on “naturalness” alone (249). There is self similarity in the design because a base pattern is taken and laid on top of itself at varying degrees of rotation. This creates smaller shapes that multiply throughout the ceiling fractal.

Fractal roof layers

Furuto, A. (2012, November 26). The Louvre Abu Dhabi museum / ateliers Jean Nouvel. Retrieved April 12, 2021, from https://www.archdaily.com/298058/the-louvre-abu-dhabi-museum-ateliers-jean-nouvel?ad_medium=gallery

P2 Fractals Theory Precedent II “PART TO WHOLE”

Concave and convex movements generate wavelike motions

Designers: HG-A | LIVE COMPONENTS

that entice viewers. Curvilinear elements move through the installation carving out these intricate forms form a typical

Concept: Installation commissioned by Korea’s national museum of

cube. This process composes the maximum amount of space

modern and contemporary art. This work of art emphasizes that

with the least amount of material, a delicate balance between

grand gestures are often composed of smaller simplistic elements,

the solid and void ratio of 50/50.

capable of tesselating to form magnificent design moves. The project statement entails; “Everything in nature is made up of components. It starts from basic components like atoms and molecules, and grows to bigger components like tissues and organs in order to construct a ‘live' body.”

Philosophical ground: Inspired by the universe creation, part to whole draws parallels to atoms bonding at the molecular scale, to create tissues constructing an entire environment.

Installation viewers circle the art for a glimpse at the intricate detail which allows for the grand design gesture. This unique wooden structure composed of 9,076 pieces of wood, becomes an experiential design component. Part to Whole appears to morph into diverse forms dependent upon the angle of perspective.

Workshop, Y. (2016, June 16). Complex wooden structure composed of 9,076 Pieces. Retrieved April 12, 2021, from https://mymodern-

met.com/hg-architecture-live-components-part-to-whole/#:~:text=Part%20to%20Whole%20is%20a,and%20Contemporary%20Art%20in%20 Korea.

P2 Fractals Theory Precedent II This installation contorts our typical notion of a cube, creating dimension and organic curvatures from an initial orthogonal box. The installation envelops the viewer, becoming a passageway, an installation made for viewing at different scales and angles. Part to whole serves as a thought provoking medium for us to reexamine the world around us, complexities formed from simplicity, demonstrated in the natural world, and mimicked in the built environment. In ‘Part to Whole”, fractal elements are exhibited as each piece of the wood arrangement builds upon itself, similar to a part of the whole.

Workshop, Y. (2016, June 16). Complex wooden structure composed of 9,076 Pieces. Retrieved April 12, 2021, from

https://mymodernmet.com/hg-architecture-live-components-part-to-whole/#:~:text=Part%20to%20Whole%20is%20a,and%20Contemporary%20Art%20 in%20Korea.

P2 Fractals Theory Precedent III “RESTBOX” Designers: IwamotoScott Architecture

Concept: Wooden sculpture of quarter scale proposed pavilion design that reinterprets two given principals, traditional Korean garden and poetry. The sculpture is a portion of The Clue exhibition at the Gwangju Design Biennale, in South Korea. An intricate expanding diamond arrangement formed by means of origami technique, highlights ideals of relaxation in a concise physical design component.

Philosophical ground: Korean traditional gardens and poetry imbue the pavilion design with cultural significance. Connections are exhibited with design drivers of fractal patterning, repetition, and ratio of solid to void. Poetry is theoretically exhibited in this sculpture by way of attention to detail in repeated geometry, and poetry between line, volume, solid and void. Poetry is spoken into the sculpture. ‘Restbox’ povides de stressing and relaxation qualities within humans, as fractals produce this desirable effect. The complexity of the structure broken down into simple geometries, reflects core fractal principle of self-similarity.

2009 Gwangju Design Biennale 'RestBox' BY IWAMOTOSCOTT ARCHITECTURE. (2013, July 24). Retrieved April 12, 2021, from https://architizer.com/projects/2009-gwangju-design-biennale-restbox/

P17 Fractals Theory Precedent III This design is one of 42 cubic pavilion designs exhibited. As one approach for a relaxation space, restbox reinterprets traditional ideas of korean gardens and poetry, as prompted by the exhibition curator. A scaled down model of the 2m x 2m x 2m pavilion, the constructed pavilion would serve as an alcove for reflection and relaxation. The sculpture becomes a functional furniture element, alluding to and providing for relaxation practices. The design at full scale renders the viewer enclosed and enveloped in the design.

If true

relaxation is attained by the viewer as intended by the design philosophy, the benefit of relaxation serves advantageous for mental health. Relaxation has been proven to reduce stress and symptoms of depression, anxiety, and schizophrenia.

Internally, resting lowers the heart rate, blood pressure level, and reduces muscular tension. It is within this sculpture that design intent becomes actuality, aesthetic sculpture produces the desirable effect on viewers it was designer to. Design serves more than aesthetic, more than furniture, it serves as an element of human wellness.

2009 Gwangju Design Biennale 'RestBox' BY IWAMOTOSCOTT ARCHITECTURE. (2013, July 24). Retrieved April 12, 2021, from https://architizer.com/projects/2009-gwangju-design-biennale-restbox/

Synthesis of Theories MORPHING FLUID RECURSION

Synthesised theory and Principles Thus far we delve into Massey’s Place Theory and Taylor’s Fractal Theory, analyzing their parallels and disparities in philosophy. Our

MAIN PRINCIPLES OF THE THEORY The Fluid Recursive design reflects the multiplicity of human interaction and migration.

Explore! The project takes on how these theories combine in a

A connected base flows into iterations of itself.

museum style exhibition utilizing fractals to demonstrate ties to a

Designs are interactive in the sense that they trace the observer’s

sense of place. Morphing Fluid Recursivity is the theory that

movement.

patterns do not only multiply within themselves, but spread throughout time and the space that they occupy. This fluidity of patterns integrates itself within our place-making as fractals add to aesthetic pleasure.

Synthesis of Theories MORPHING FLUID RECURSION Design concept/strategies Synthesised theory

Self Similarity pattern

Fluid Recursivity is the combination of the Sense of Place and

The Self Similarity pattern strategy comes to play an

Fractal theories. It takes the idea that place has no definitive

important part of an innovative display Exhibition Experience.

border, no boundaries to its inclusion, and intertwines that idea

We’ve utilized this design strategy so that we could break the

with the recreative, organizational, self-imaginative pattern

use of a white box gallery display. Instead, we want to bring to

design strategy of fractals. Cultures from the beginning of human development in Africa have exchanged ideas, customs, and principles that evolve into new ones. These can then return to the culture in which they originated and develop again. This process can replicate from region to city to neighborhood to individual streets and any level in between. For example, New York is seen as its own definitive place, but only through the collective of all cultures within the city is it that New York comes together to equal its whole. The same process finds application within design. In Fluid Recursivity, patterns multiply within themselves, extending their design throughout the place where they exist.

the table an element that would elevate the visitor’s experience and add a greater spatial quality to it. Within Self Similarity, the design patterns multiply and continue at multiple scales. This is reflected in our gallery design through the repetition of branching and void spaces within the columns. As the visitor moves throughout the space, the structure reads slightly different from other perspectives.

The branching pattern descending from the ceiling and into columns does not end at the floor space. This pattern will recreate itself as visitors move about an interactive-light gallery flooring. Free to choose which pathway and artwork lineage they choose, the visitor becomes as much a part of the spatial experience as the artwork on display.

Self similatity pattern Self similatity pattern that morphes and rescales itself as it progresses

Synthesis of Theories MORPHING FLUID RECURSION Design concept/strategies Interactive Flooring

Carved Display

Interactve Flooring Layers

To better enhance the experience of visitors, the use of the

The art work will be inset into the wall and backlit. To

interactive flooring was implemented to drive the interaction

best display David Barnett’s mixed media and Mannequins, we

between visitor and exhibition. We envisioned the use of this

propose displaying the mixed media and mannequins within

technology to create an interactive timeline pathway of David

the apertures on the walls of the fractal form. The art flows

Barnett’s work from the very early stages to the end result. The paths will lead visitors to a detailed emerging experience to Barnett’s work.

The science behind the interactive floor works in the following

with the curvatures and motions of the fractal form. The overlay the led interactive structure on top of existing flooring

led interactive panels adjusted

artwork inset into the form, creates unison between the fractal form and the art itself, literally merging fractal theory and

manner. The flooring consists in a series of pre-assembled LED

place theory. To physically illuminate the work, backlighting

panels that have the ability to sense people’s movements and can

highlights the concave curves carved out for the placement of

consequently respond to the interaction of people’s steps by

each individual art piece.

displaying additional sensory activators.

The use of interactive flooring has the power to amplify the visitor's interaction with the content being displayed beyond just the visual level. With the interactive flooring, users will be able to engage

led interactive structure panels prgramming

led interactive paths, leads and stations lit up as micro led lit points

with the exhibition on a greater physical level. Their movements create a spatial experience within the gallery. Furthermore, it is an opportunity for the visitors to learn more in depth about David’s Barnett’s work and history.

simple solid stand

Opening outline

caverd display with curated lighting

Synthesis of Theories MORPHING FLUID RECURSION Design concept/strategies Focal Projections On negative wall space allocated from the fractal form, projections of Barnett’s collage work appear. As the museum viewer uncovers the exhibition, the interactive floor signals the projections to commence as the museum viewer progresses through the exhibition. These interactive components work in unison, creating motion activated art displays. This experience stimulates human interaction and feedback with Barnett’s work. The projections display different artworks from Barnett depending upon how many are viewing at any given time.

The clustering of multiple museum goers on the floor, triggers the projector to project multiple works at once. This interaction mirrors the viewers viewing the art, multiplying the magnitude of art to match the magnitude of viewers observing. Thus, the display mirrors the human audience.

Focal Projections technique

Focal Projections technique

Synthesis of Theories MORPHING FLUID RECURSION Project overview: Design problem In this exhibition design, the common notion of the white box

The white box is transformed into an unrecognizable and

museum gallery is transformed into an interactive experiential

thought provoking exhibition on the crossroads of fractals and place theory.

design elaborating on the connectivity between human place ideologies in geometric organization. The museum curator of the

Context analysis

Whitney Biennial seeks an innovative design approach to facilitate a

The exhibition itself is located on the third floor of The

more communicative museum setting to display David Barnett’s

Breuer Building at the corner of Madison Avenue and 75th

work.

Street in New York City. The museum attendees are usually a

Programmatic priorities

mix of locals and non locals such as residents of the NY city as

The Whitney Biennial, is regarded as one of the leading art events for

well as all over the world given the popularity of the city as a

Contemporary art. The exhibition itself must facilitate meaningful

turist destination The brutalist museum serves as jarring

interaction between viewer and art, binding the two in unison.

juxtaposition to the traditional residential neighborhood composed of row houses. Very fitting of the Whitney Biennial 3rd Floor- floor plan

to be held in such a statement building, the interiors

In this image you can see the basic layout of the room where our curated space will be developed and possble space.

When entering the exhibition, the viewer first interacts with

These elements in combination allow for a truly one of a kind

the fractal webbed structure. In progression, the viewer

experiential design that emphasizes the community in New

discovers pockets of David Barnett’s artwork. In a sensorial

York City, contrasting ideals of place and placelessness within

experience, the viewer becomes immersed in an environment pulsing with vivid color, sound, and moving images by way of 3rd Floor View In this image you can see a sample exhibition arrangements within a more traditional scheme.

incorporating high ceilings and sparse use of natural light.

projection onto the fractal structure.

a multi dimensional fractal structure.

Morphing Fluid Recursion DESIGN PROCESS

Design experiment process:

Morphing Fluid Recursion DESIGN PROCESS

Design experiment process: Axon gallery layout study 1

Axon gallery layout study 2

gallery perspective layout study 1

These iterations show how we thought to arrange and

include the visitor in the spatial experience as much as possible

curate the exhibition at the early stages. Our idea was to

to create a connection to the gallery space and artwork within.

activate the artwork and space in ways greater than simply putting the artwork along the walls. Within this design the goal is to

Morphing Fluid Recursion DESIGN PROCESS

Design experiment process: Design Process Through a series of iterations, our current design became one of interplay between solid and void, a system of repetitious carving, creating geometry and pattern. The design began as a solid box the size of the third floor exhibition space. In identifying a new way to portray Barnett’s work, we arrived at

gallery perspective layout study 2

formed curvatures, displaying the art in a ribbon-like element, weaving viewers in and out of the exhibition space. Using grasshopper, a fractal like structure was formed by carving out the solid block, using mathematical fractals to create the gallery layout study 2

gallery perspective layout study 2 with lighting

achieved aesthetic. Within the inhabitable space, we uncovered new ways to create a one of a kind experience, by way of interactive design, user response, and stimulation of the senses.

Morphing Fluid Recursion DESIGN PROCESS Design Proposal process: Self Similarity pattern

2D pattern fluid morphing evolution : Phase 1

2D pattern fluid morphing evolution : Phase 2

2D pattern fluid morphing evolution : Phase 3

In our design, we introduce a dynamic pattern into the gallery

The spatial layout of the artwork gives visitors the

by starting it as a 2D fractal pattern which then expands and

opportunity

flows into a 3D pattern throughout the space. The morphing

exhibition, where different paths can change the order in

structure helps to frame the artworks displayed with the cavings located within the columns.

to

choose

how

they

experience

the

which the displays are viewed. The concept aims for allowing the user experience to create additional fractal patterns along the interactive flooring.

Morphing Fluid Recursion DESIGN PROCESS Design Proposal process: 3D pattern fluid morphing reversed evolution

2

1

5

3

4

Morphing Fluid Recursion DESIGN PROCESS Design Proposal process: Layering Densities The webbed fractal structure portraying fluid recursion theory,

Existing roof

entails a series of complexities, that change form depending on

Morphing fluid 3D

vantage point. Layering depicts the intricacy of the multiplied

pattern structure

geometries, yet when taken apart in section cut, reveals the

Interactive Flooring simplicity of the initial geometry. These intentional layers carve out meaningful moments for Barnett’s artwork on display,

Existing museum walls

layering geometry, artwork, and display methodology. The layering allows for optimal integration between Barnett’s work and the surrounding structure.

Within this axon you can see the layering of the interactive

flooring

and

morphing

structure.

The

branching effect of the structure consolidates into columns , connecting to the floor. Visitors are allowed to Layered Axon Diagram

Section Diagramof 3D pattern Structure

partake in the fractal design through interactive flooring that illuminates the spatial path they take.

Morphing Fluid Recursion DESIGN PROCESS Design Proposal : Focal Projections process

In the exhibit, viewers participate with floor movement

A chain reaction occurs, with the museum viewer at the

interaction. Viewer stepping motion triggers a series of

nucleus of the action. Being a multi sensory display,

events, first the flooring lights up in response to

viewers interact with floor touch, visual cues, and spatial

movement, second, projections begin in response to the

circulation. Participation is never endured with touch,

floor lighting up.

although utilizing other senses.

Morphing Fluid Recursion DESIGN PROCESS Design Proposal : Carved Display Here you can see how the mannequin looks with the carved structural column. The artwork is framed within the carved section of the column. This allows the artwork to become part of the spatial experience of the gallery, connecting the visitor to the artwork even further. The mannequin is enhanced by a curated lighting that lives in the carved display.

Morphing Fluid Recursion DESIGN PROCESS Design Proposal : Interactive Flooring

In this axon, the layout of the flooring modules is shown. The

As the modules track the movement of visitors over time, it’s

flooring is done in a way that the panels are small enough to

possible to envision how the branching would occur from a

capture each individual's movement, but large enough to feel

singular point within the gallery space.

impactful on the new design created within the flooring module itself.

Morphing Fluid Recursion Design Proposal Perspectives

Morphing Fluid Recursion DESIGN PROCESS Design Proposal Perspectives

I N T D 3 0 2 1

E X P L O R E P R O J E C T

Authors: Gelmira Gourgel/ Hannah Reinhardt