March.5

KAI WANG

GEORGIA INSTITUTE OF TECHNOLOGY

SELECTED WORKS F23

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RUINS 02

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CAMPO MARZIO GRAND PRIX

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ALGORITHMIC FORMALISM

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FABRIC INFLUENCE

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AIRCRAFT UNKNOWN

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THE OCULUS REVERSE ENGINEERED

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MACHINE AND PLAY

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MOMENT FRAME

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RUINS 02 ADVANCED STUDIO 1 FALL 2023 INSTRUCTOR: MICHAEL GAMBLE

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CAMPO MARZIO GRAND PRIX ADVANCED STUDIO 1 FALL 2023 INSTRUCTOR: MICHAEL GAMBLE

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“On the rand stand over the pit lane, the audiences can hear the roaring engine, smell the burning gasoline as the race cars pass by, and sense the vibration of the historical city wall of Campo Marzio. By taking a walk through the Pits into the Workshop, they find themself surrounded by these high-speed machines, stripped down and taken apart, showcasing the power and the beauty behind this industrial madness.”

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A 4.6-mile-long racetrack, a mixture of the newly constructed professional racing road surface and the historical street takes the race through the iconic scenery of Campo Marzio. The heart of the project, located in Circus Domitian, is the starting and finish point of each race. Adjacent are the pits, which are connected to a vehicle workshop with elevated moving platforms.

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Generally, two main systems form the project: the steel truss system and the original city texture. To be more specific, the steel truss system, on the one hand, is newly constructed in Campo Marzio to serve as a reinforcement to support the load from extremely high-speed racing. On the other hand, masses are taken from the existing Campo Marzio architecture, deconstructed, and recombined, to form a tectonic system with the pattern borrowed from the historical Campo Marzio. These two systems alternately serve as the core form and the symbolic form, in other words, the skeleton and the skin.

Tectonically, these two systems function together through the actions of merging, penetration, insertion, locking, inter-growing, etc. The geometric order discusses how the contrasting systems become a whole through co-functioning.

Through the media of performance racing, the project brings motion into the still Campo Marzio. It then masses, and thickens the surfaces. It introduces experiences of shuttling back and forth between different dimensions.

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The project consists of a series of infrastructures constructed through the imaginary city to support the racing events held in Campo Marzio. With the performance racing being the spine, topped with related activities, the project serves as the Recorder of the automobile culture.

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The Gardens of Steel is where the car scraps are recycled. The scraped materials go through a process of melting and reforming, to become parts of the new infrastructure of Campo Marzio.

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ALGORITHMIC FORMALISM 2D/3D INFLUENCE MEDIA & MODELING 2 FALL 2023 INSTRUCTOR: EMILIO HERNANDEZ

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FABRIC INFLUENCE CHICAGO MEDIA & MODELING 2 FALL 2023 INSTRUCTOR: EMILIO HERNANDEZ

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AIRCRAFT UNKNOWN MEDIA & MODELING 2 FALL 2023 INSTRUCTOR: EMILIO HERNANDEZ

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THE OCULUS REVERSE ENGINEERED MEDIA & MODELING 2 FALL 2023 INSTRUCTOR: EMILIO HERNANDEZ

Kai Wang, Brian Lachnicht

SECTION 1

SECTION 2

SECTION-PLAN 1

SECTION-PLAN 2 ELEVATION 1

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ELEVATION 2

SECTION-PLAN 3

SCRIPT LOGIC & FACADE PROCESS

COMMAND: RECTANGAL

COMMAND: POINT ON CURVE

COMMAND: CONSTRUCT PLANE & CONSTRUCT VECTOR

COMMAND: PLANE/CURVE

COMMAND: FILLET & JOIN CURVES

COMMAND: EXTRUDE

PURPOSE: SET THE SITE LIMIT

PURPOSE: DETERMINE THE NUMBER OF THE STRUCTURAL MODULES & SET THE BASELINE FOR THE TOP FINS

PURPOSE: CREATW THE ROUND CORNERS AND COMPLETE THE OUTLINE FOR INDIVIDUIIAL FINS

PURPOSE: DETERMINE ANGLE OF THE MAIN BODY OF THE BUILDING

PURPOSE: PROJECT THE SITE BOUNDARY TO THE TOP FIN BASELINE

COMMAND: ARC 3PT

PURPOSE: CONSTRUCT THE BODY OUTLINES

COMMAND: MOVE

PURPOSE: CONSTRUCT MORE DETAILED OUTLINES

COMMAND: LINE SDL

PURPOSE: SET THE BASE FOR INDIVIDUAL FIN STRUCTURE

PURPOSE: CREATE THICKNESS FOR EACH FIN STRUCTURE.

NORTH SOUTH ALIGHED & HEIGHTENED

CARDINALLY SKEWED & SHORTENED

27 FIN ANGLE VARIATIONS

SENSES All living things affect their environment by making and transforming chemicals, and also by growing and sometimes by moving, but it is muscle that gives rise to rapid, coherent action on large spatial scales. It makes possible the manipulation of objects, the deliberate and rapid transformation of what is around us.

Peter Godfrey-Smith, Other Minds

ACTION

“When I had recovered from my astonishment, I thrust at him with the rapier; the bear flipped his paw; the thrust was parried. I tried to seduce him with a feint; the bear did not budge. With a sudden lunge I thrust again; I would absolutely have hit a human opponent; the bear flipped his paw, parried the thrust. I was in the same spot that young Herr von G— had been. The bear’s concentration added to my loss of composure.”

“the action of the puppeteer’s fingers is directly related to the movements of his marionette, just as numbers relate to their logarithms; but then it may be true that this last vestige of human spirit can be eliminated from the marionettes; and then their dance would be completely mechanized, performed with a crank as you have suggested.”

As streams of information come in from different senses, they are brought together into a single picture.

This is vivid in our own case; we experience the world in a way that ties together what we see with what we hear and touch. Our experience is usually of a unified scene.

Peter Godfrey-Smith, Other Minds

"Spun yarn is a synthetic thread consisting of many natural threads. After the natural threads have been suitably prepared, the yarn is produced by combing, plucking, squeezing, sticking, and twisting. Combing arranges the threads as parallel as possible, and in the case of tangled and short raw materials it is often replaced by carding, which gives the threads a feltlike property."

Gottfried Semper, Style

MULTIPLICATION

In everyday experience there are two causal arcs. There is a sensory-motor arc, linking our senses to our actions, and a motor-to-sensory arc as well. Why turn the page? Because doing so will influence what you’ll see next.

Peter Godfrey-Smith, Other Minds

CONTROLER/ HUMAN

“The processes of plucking, squeezing, sticking, and twisting have been performed since ancient times with the assistance of a damp hand and a rotating spindle. The new spinning machines have not changed the principle at all but simply multiplied and simplified production by substitute for the hand, and by using machines to set in motion a large number of spindles and related substitutes for the hand.”

Gottfried Semper, Style

As an example of multiplication, a Graphic Processing Unit (GPU) is capable of large quantities of simple calculations. As the result, GPUs are often utilized in AI training

"Importantly, however, deep learning depends on a vast amount of data, so much so that data, as is often said, has now become 'the new oil'.."

Neil Leach, Architecture in the Age of Artificial Intelligence

MARIONETTE / TOOLS

Agon The point of the game is for each player to have his superiority in a given area recognized. That is why the practice of agon presupposes sustained attention, appropriate training, assiduous application, and the desire to win.

"Importantly, however, deep learning depends on a vast amount of data, so much so that data, as is often said, has now become 'the new oil'....With supervised learning, the system is literally trained to perform certain tasks according to a desired outcome by being fed a vast quantity of clearly identified examples."

Roger Caillois, Man, Play, and Games

"With unsupervised learning, there are no desired outcomes. Rather, the system finds patterns or clusters that exist in unstructured data, thereby effectively discovering knowledge."

Neil Leach, Architecture in the Age of Artificial Intelligence

Let’s consider some analogies with our case, beginning with acts like blinking and breathing.

These are activities that normally happen involuntarily, but through attention you can assert control over them. An octopus’s arm movements have something like this combination. The analogy is imperfect, as breathing, while normally involuntary, can be subjected to very finegrained control when you do intervene to breathe voluntarily. Attention is used to take over what is normally an automatic process. In the octopus, if the mixed-control interpretation is right, central guidance of the movements is never complete, and the peripheral system always has its say. To put it too anthropomorphically: you would send an arm out deliberately and hope the local fine-tuning goes right.

Peter Godfrey-Smith, Other Minds

Neil Leach, Architecture in the Age of Artificial Intelligence

Some technologies are invented simply for gaining advantage in absolute number, just like the game of Agon

Multiplication of the pistons to multiplication of power The self-produced pulses will affect their own senses, though, and it may be difficult for a fish to distinguish the pulses it has made from electrical disturbances that are due to external things. To deal with this problem, whenever a fish emits a pulse it also sends a copy of the command around to the sensing system, enabling that system to counteract the effect of the pulse it has produced. The fish is tracking and registering the distinction between “self” and “other,” between the effects on its senses of its own actions and the effects of events going on around it.

Peter Godfrey-Smith, Other Minds

"With reinforcement learning, the system does not need to be given clearly labelled examples in order to learn. but depends entirely on feedback messages informing it whether it is correct or not. Its knowledge evolves based on the logic of punishment or reward."

Neil Leach, Architecture in the Age of Artificial Intelligence

Randomness in chess games

RHYTHMIC MOVEMENT

RANDOMNESS

Some fish communicate through electric pulses.

Self-driving vehicles

Fish's self-correction on misleading communication Vehicles simply as tools to get to a destination faster than walking.

ACTION MARIONETTE

SENSES

Curiosity and enjoyment

"“Each marionette,” he said, “has a focal point in movement, a center of gravity, and when the center is moved, the limbs follow without any additional handling. After all, the limbs are pendula, echoing automatically the movement of the center."

Heinrich von Kleist, “On the Marionette Theatre”

“I will even dare to maintain that if an artisan would follow the directions that I want to give and build a marionette for me, I could have that marionette perform a dance which neither I nor any other capable dancer of this era could duplicate.”

Competition & accidents

“These movements of the center are very simple. Every time the center of gravity is guided in a straight line, the limbs describe curves that complement and extend the basically simple movement. Many times when the marionettes are merely shaken arbitrarily, they are transformed into a kind of rhythmic movement that in itself is very similar to the dance.”

“These marionettes,” he said, “have another advantage. They haven’t discovered the law of gravity. They know nothing about the inertia of matter. In other words they know nothing of those qualities most opposed to the dance. The force that pulls them into the air is more powerful than that which shackles them to the earth. What would not our dear G— give to be sixty pounds lighter or to have a force that would lift her for her entrechats and pirouettes. These marionettes, like fairies, use the earth only as a point of departure; they return to it only to renew the flight of their limbs with a momentary pause. We, on the other hand, need the earth: for rest, for repose from the effort of the dance; but this rest of ours is, in itself, obviously not dance; and we can do no better than disguise our moments of rest as much as possible.”

Mimicry Alea

Play can consist not only of dep milieu, but of becoming an illus confronted with a diverse serie the subject makes believe or m He forgets, disguises, or tempo

Roger Caillois, Man, Play, and G

Marionette arm This is the Latin name for the game of dice. I have borrowed it to designate, in contrast to agon, all games that are based on a decision independent of the player, an outcome over which he has no control, and in which winning is the result of fate rather than triumphing over an adversary.

Roger Caillois, Man, Play, and Games

Marionette Joint

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Marionette Joint

MACHINE AND PLAY

POSSIBILITIES / CONTROL THE FOUNDATIONS OF ARCHITECTURE THEORY FALL 2023 INSTRUCTOR: LARS SPUYBROEK

In reflection on the marionette described by Heinrich von Kleist, The diagram explores the relationship between humans and the development of machines. According to Kleist, as a puppet manipulated by strings connected to the human hand, the marionette can achieve fluid movement by echoing the puppeteer’s hand gestures. Without the limit of gravity force and affection, the marionette can execute motion more gracefully than any human dancer.

The spinning machine was introduced to multiply the hand movement to produce threads in substitute to hands. It represents the most general principle of man-made machines—-multiplication. It could be multiplication in motion, force, speed, etc. Even the latest Artificial Intelligence technology follows this pattern (multiplying the calculation). Drawing connections from the marionette, humans can be seen as the puppeteers who manipulate. The strings and puppets are the machines humans use as tools. Thus, the product of the machines can be referred to as the movement of the marionette. Just like puppets are better dancers than humans, despite being designed and manufactured by humans, machines are meant to outdo their creators and manipulators.

Like AI training, machine development can be categorized into stages as supervised, unsupervised, and reinforced. An axis of the vehicle development was introduced in the diagram to better showcase these stages. The introduction of the early combustion engine was simply meant to improve the speed and power of human transportation. Turning the sense into action, men invented cars due to their sense of desire to move more loads in a shorter time. As cars went faster, racing was introduced to bring randomness for entertainment. Later, intelligence was attached to vehicles in terms of self-driving. Gradually, they become products of sense to products of action as the machines are endowed with more characteristics.

If machines are marionettes, each threshold between the stages of the machine development is the joints of a marionette. The marionette's body does echoing movements to the puppeteer’s hand, while the marionette’s body does echoing movements to the body. After each joint, the movement shows more possibility while getting more unpredictable. It is hard for humans to presage what influence the machines can have in the future as they get more advanced, for better or for worse. However, the marionette hints that more possibility comes with less control humans have over the machines.

Marionette Joint

The voladores—Huastec or Totonac—climb to the top of a mast sixty-five to one hundred feet high. They are disguised as eagles with false wings hanging from their wrists.

Ilinks

ploying actions or submitting to one’s fate in an imaginary sory character oneself, and of so behaving. One is thus es of manifestations, the common element of which is that makes others believe that he is someone other than himself. orarily sheds his personality in order to feign another.

The last kind of game includes those which are based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness.

Games

Roger Caillois, Man, Play, and Games

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TOWER PROJECT MOMENT FRAME INTERGRATED BUILDING SYSTEM FALL 2023 INSTRUCTOR: KAREN JENKINS

Thomas Bordeaux, Matt Bean, Kai Wang, Brian Lachnicht, Anna Wiles

Create a structure that withstands strong moment forces in relation to the tower’s height and weight.

Initial Ideation Process: - Utilize strong/rigid materials such as metal to create frame - Establish strong joints at the floors - Shed unnecessary weight by staggering structure at the base

Material Components Main Structure: ½ inch Aluminum C-Channel Supports: ½ inch Aluminum L-Brackets Connections: #6 Screws #6 Nuts

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Total Weight: 6.4lbs Maximum load: 111 lbs 4 lb Weights: 23 8 lb Weights: 2 3 lb Board Strength Ratio: 17.3

The tower failed as a result of lateral torsional buckling after withstanding a total supported weight of 111 lbs.

The top right image shows the vertical members of the first moment frame/floor buckling from compression.

Lateral Torsional Buckling occurred within the columns causing the tower to rotate. The individual “beams” and “columns” of the tower had a stiffness irregularity that aided this lateral torsional buckling they were shaped like a “U” causing the members to have a propensity to rotate and buckle. This rotation caused the tower to fail.

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