2012 Semester 2

LINUS GRUSZEWSKI

NATURAL SYSTEMS STUDIO

0/INDEX 1/COMPLEXITY 2/GRID 3/ PRESCRIPTIVE EMERGENCE

GRUSZEWSKI

4/COINCIDENT DISRUPTION

â€œTruth is ever to be found in simplicity, and not in the multiplicity and confusion of things.â€? Isaac Newton Where does our fixation for the COMPLEX stem from? Is it a transfer of our wonder in the intricacies of the natural world towards the artificial?

1/ COMPLEXITY

Trianglesweep.pde SIMPLE

COMPLEXITY Trianglestack.pde SIMPLISTIC

John Stump COMPLICATED

COMPLEXITY Venn Diagram COMPLEX

Eiffel COMPLEX

COMPLEXITY Kapoor + Balmond: CONVOLUTED

Abstract references help us to understand and control our environment. Grids, matrixes and planes enable us to represent and communicate spatial data, like vectors or objects. But the grid can become an object in itself, deformed to suggest a landscape, sub-divided to create textures and intricacies, the abstract overlay becomes highly contextual, with attractors and repellers affecting its shape.

2/ GRID

Regular Grid as generator of architecture JNL Durand

GRID Grid as base for all forms of life Superstudio

Orthonormal overlay to decompose and represent space. The grid serves to rationalise the translation between reality and representation Leon Battista Alberti

GRID Reactive surface of repeated geometric shapes DeCoi, Aegis Hyposurface

Vs.

Is the grid adaptive to accidents or intransigent to context? Roadkill pragmatics

GRID Haussmann bulldozing between points of attraction Cerda rigorous grid regardless of topology

Localised disturbances of orthagonal grid are caused by randomised attractors. Pinching effect creates distortion. Grideform.pde

GRID Contrained hand drawing to understand attraction and repulsion Notebook

GRID low tech parametrics notebook

Drawing a grid from survey data measured with giant theodolites in order to precisely map the topology of the region. Trigonometrical survey of India, Gujarat

GRID Generating virtual landscapes, with incrementally complex tesselations of fractal geometries. Mountains, Pixar

Going from determining an end result to softly curating behaviours of automata.

3/ PRESCRIPTIVE EMERGENCE

We are stuck in the realm of the prescriptive. How to break from this habit of determining a specifically shaped end-result? By considering the design as a process, which we can monitor and tweak along the way, we give more freedom for the project to evolve autonomously. The knee-jerk reaction to this apparent surrender of the designerâ€™s power over the creation. This is where the technical abilities of the designer as programmer come into play. Up to us to use the tools in the right context. We may speculate about end results, and it is always of interest to compare initial sketches to finished projects, but this should not limit our speculative study. Breaking free of the constraints we impose on our own process by switching medium, for instance projecting, printing, or building models, enables us to see outside the processing window.

Gwanggyo power center MVRDV

PRESCRIPTIVE EMERGENCE

STALACTITES/STALAGMITES stacking drops

Raindrops.pde

mitosis hand sketch PRESCRIPTIVE EMERGENCE

This sculpture suggests a landscape eroded by (acid) rain, it shows another possibility of representation from similar data. Noriko Ambe, a piece of a flat globe

PRESCRIPTIVE EMERGENCE Study of agglomeration/cohesion, based on the agents.pde behaviour notebook

Variations in the flocking parameters modulate density and distribution of elements.

PRESCRIPTIVE EMERGENCE Study of particle flocking, simulating cohesion, separation and alignment, tracing diaphanous strands between neighbouring elements agents.pde

Grids are deformed by external forces, disrupting the orthonormal matrix by pushing elements away from their initial position. Data can be represented in many ways, here an attempt to extrapolate spatial evolution from cellular interactions serves as a speculative exploration of where things could go from this point.

4/ COINCIDENT DISRUPTION

Suspended grids are disturbed by the flight of owl. This installation tracks the invisible motion of air particles reorganising themselves inthe wake. Claire Morgan, Here is the end of all things, 2011

COINCIDENT DISRUPTION Every shape is tracked to its original position with a spring that allows it to oscilate around its origin, gradually stabilising its trajectory. springrid.pde

Regular matrix is disturbed by motion on touchscreen, hexagonal elements swing out, then gravitate back towards their original positions. Gridspring.pde

pushMatrix(); //translate hex to end of each spring translate(xPos+springPosX, yPos+springPosY); //a,b and c values determined in relation to a pre-established variable ‘hexagonSize’ c = hexagonSize; b = hexagonSize/2; a = sqrt((c*c)-(b*b)); // draw the hexagon based on a,b and c values beginShape(); vertex(-b, -a); vertex(b, -a); vertex(c, 0); vertex(b, a); vertex(-b, a); vertex(-c, 0); endShape(CLOSE); popMatrix();

//SNIPET 2 SWINGING THE HEXAGONS WITH THE MOUSE void update() { //if intersect with bounding box when mouse is pressed, update spring’s position based on variable parameters if (mousePressed && lineRectIntersect(xPos, yPos + boxSize, xPos + boxSize, yPos, pmouseX, pmouseY, mouseX, mouseY)) { //velocity proportionally based on mouse movement( springVelX = 0.1*(mouseX - pmouseX); springVelY = 0.1*(mouseY - pmouseY); } else { //acceleration takes into account spring’s variables springAccX = (-(stiffness*(springPosX - boxSize/2))-(damping*springVelX))/mass; springAccY = (-(stiffness*(springPosY - boxSize/2))-(damping*springVelY))/mass; //velocity is adjusted by acceleration springVelX += springAccX; springVelY += springAccY; //position is updated based on the velocity springPosX += springVelX; springPosY += springVelY; }

How to draw a regular hexagon. Releasing the springs with mousePressed.

COINCIDENT DISRUPTION

//SNIPET 1 DRAWING HEXAGONS ON A GRID OF SPRINGS

saturation

COINCIDENT DISRUPTION

Translation of rectangle generates ‘zigzag’ Yellowtrace.pde

MVRDV ‘Kissing Towers” grid/disturbance/grid François Roche ‘Urban (re)fuse’

COINCIDENT DISRUPTION Based on a simplified version of Gridspring.pde, seven layers are projected in perspective and spring towers evolve from the grid, ultimately to return?

trees

What drives our fascination for natural systems?

“what binds me to the trees is something they know how to do and I don’t” Milorad Pavič, Dictionary of the Khazars, 1988 Are we still just as bound to the tree once we have witnessed computer generated arborescences so lifelike as to be fooled into thinking it is real? Is it the complexity of the growth, with innumerable variables making each tree a unique instance, which draws us to these forms? If we can focus simply on the image, 2D or 3D, and marvel at the complexity of this artificial projection, can we be as satisfied by the artificial as the natural? is our purpose to generate complex systems so as to trick the eye, or to create suggestive forms and evolutions. Perhaps the jump in medium of representation can help to go beyond the coldness of the grid, using other protocols like hand tracing over projections in order not only to give texture and feel to the image, but also in order to interpret and mediate between one tool and the eye.

References as found in Hernan Diaz Alonsoâ€™s Xefirotarch

STACKING