RAD: A Pragmatic Exploration in Nature’s Structural Systems

RAD reciprocal / algorithmic design

:systems Pragmatic Exploration in Nature’s Structural Systems

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Nathan M. Baker

College of the Arts Masters Research Project The University of South Florida’s School of Architecture & Community Design

Thesis Chair:

Mark Weston

Professor of Architecture @ USF SACD Principle @ Maurer Weston Tampa, FL

Thesis Committee:

Stanley Russell

Professor of Architecture @ USF SACD Principle @ One Corner Architects Tampa, FL

Christopher Galbraith

Adjunct Professor of Architecture @ USF SACD Architectural Designer @ Rowe Architects Inc. Tampa, FL

Randall Anway

Principle @ New Tapestry LLC Cincinnati, OH

RAD reciprocal / algorithmic design

:systems Pragmatic Exploration in Nature’s Structural Systems

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This book is dedicated to Victor, Carolyn, and Leanne Baker who have always supported me in my pursuits of architecture.

To my wife, Brittany Curtin without whose support and encouragement I would not be the man that I am today.

To my ever wise professors who have always pushed me to strive for more than I thought I could achieve.

Thank you all

RAD | Abstract There has always been a process, an order that is innate within the varying realms of design. This order first begins with an intent which manifests itself spatially, which then, when acted upon, breaches the first and second dimensions relatively quickly. While there is merit in working through a design via paper, all too often the third dimension is pushed until the end, and maybe not even realized. This paper is a documentation of a series of design studies with the intent of pragmatically investigating nature’s structural systems by architecturally exploring biomimicry through origami.

Each study utilizes the metamorphic techniques of origami to facilitate the different steps within the design process.

All design will at one point or another be transcribed on some type of two dimensional medium; be that paper, some type of board, or on the computer, all mediums seek understanding within two dimensions.

The following studies are no exception; my architectural education has taught me to first begin designing in the third dimension as all designers do.

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Architecture: the art of orchestrating the design of space Biomimicry: learning from nature to inspire design Origami: the art of folding

It is important to distinguish that this is not a critique upon the design process through the different dimensions, but is instead a different magnifying glass through which to examine the gem of architectural process.

This document is the beginning of my architectural research into discovering the convergence of Architecture, Biomimicry, and Origami. Reciprocality, Algorithms, and Design are the concepts that are the common threads that these disciplines have in common. RAD has become the scope by which to better focus the target of this field of study into A-B-O. Architecture has been a passion of mine since I was 4 years old and has only grown more and more as I have had opportunities to be exposed to different styles and types of design. Biomimicry is a passion which started growing in the Spring of 2015 when I first stumbled across this field of study. In recent years as my knowledge base of the natural world has grown, my fascination of nature has matured in parallel. As for Origami, folding paper started out as and still is an interest of mine, specifically modular origami which ties in every aspect of RAD. Design: the will of an epoch Reciprocal: given or preformed in return; mutual action or relationship Algorithmic: a set of rules for solving a problem in a finite number of steps

Fig 01 - Ori-Vera final photo [cover] Fig 02 - Miura ori sheet [pg 2-3] Fig 03 - Rocks I stacked in Austin, TX [pg 4-5] Fig 04 - Architecture, Biomimicry, Origami, Reciprocal, Algorithmic, Design Diagram

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Calendar | Table of Contents Week 1

8.24.15 - 8.30.15

Week 2

8.31.15 - 9.6.15

Week 3

Research

• Researching the history and principles of Biomimicry and Origami.

Ori-Vera • Exploring the structural qualities of paper when folded using a modular unit.

Page: 10

9.7.15 - 9.13.15

Page: 24

Week 4

9.14.15 - 9.20.15

X-C-O • Designed and built a Bar Stool for Detail Making using the joinery technique that I used in Ori-Vera.

Page:42

Week 5

9.21.15 - 9.27.15

Week 6

9.28.15 - 10.4.15

Thesis Trip

Reflection

• Designed and built an Oil Lamp while focusing on the connection between Steel and Concrete.

• Biomimicry Summit and conference at Austin, Texas

Week 7

10.5.15 - 10.11.15

Week 8

10.12.15 - 10.18.15

Week 9

10.19.15 - 10.25.15

Week 10

10.26.15 - 11.1.15

Week 11

Page: 62

Tes-Ori

• Exploring the Miura Ori fold in paper and wood.

11.2.15 - 11.8.15

Keikoku

Week 12

• Designing a table using a Valley fold from the Miura Ori Tessellation.

11.9.15 - 11.15.15

Week 13

11.16.15 - 11.22.15

Page: 78

Week 14

11.23.15 - 11.29.15

Week 15

11.30.15 - 12.6.15

Week 16

12.7.15 - 12.13.15

Page: 88

Week 1

Research

8.24.15 - 8.30.15

• Researching the connection b e tw e e n architecture, mathematics, and geometry.

Week 2

8.31.15 - 9.6.15

Week 3

9.7.15 - 9.13.15

Week 4

9.14.15 - 9.20.15

Week 5

9.21.15 - 9.27.15

Week 6

9.28.15 - 10.4.15

Week 7

Incose Webinar

Research

• I presented my thesis work thus far to a group of professionals via an Online webinar.

Research

• Researching thin concrete structures.

• Researching Japanese joinery.

Ori-Tri

• Study into triangular origami unit modulation.

shell

Hex Petal

10.5.15 - 10.11.15

• Study into a structural 3 dimensional modular unit.

Week 8

10.12.15 - 10.18.15

Week 9

10.19.15 - 10.25.15

Week 10

10.26.15 - 11.1.15

Week 11

11.2.15 - 11.8.15

Week 12

11.9.15 - 11.15.15

Week 13

11.16.15 - 11.22.15

Page: 108

Final Jury • 04-06-2016

Week 14

11.23.15 - 11.29.15

Page: 126

Week 15

11.30.15 - 12.6.15

Week 16

12.7.15 - 12.13.15

Figures Page: 148

Works Cited Page: 154

Biomimicry| Inspiration Greek: Bios - Life Mimesis - Imitation Literally means: Imitation of Life The art of learning from Nature to Inspire Design Photosynthesis,self-assembly, natural selection, self-sustaining ecosystems, eyes and ears and skin and shells, talking neurons, natural medicines, and more copying these designs and manufacturing processes to solve our own problems.

The conscious emulation of life’s genius.

Creating conditions conducive to life Innovation inspired by nature.

How Nature Works not about how Nature Looks.

Act of learning from nature, borrowing designs and strategies that have worked in place for billions of years.

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Nature as Model: Biomimicry is a new science that studies nature’s models and then emulates the forms, processes, systems, and strategies to solve human problems.

Nature as Measure: Biomimicry uses an ecological standard to judge the sustainability of our innovations.

After 3.8 billion years of evolution, nature has learned: What works. What is appropriate. What lasts.

Nature as Mentor: Biomimicry is a new way of viewing and valuing nature. It introduces an era based not on what we can extract from the natural world, but what we can learn from it.

-Janine Benyus

Biophilia | Inspiration Greek: Bios - Life Philia - Love Literally means: Love of Life There is an instinctive bond between human beings and other living systems.

Origami |Technique Japanese: Ori - Fold

Gami - from Kami - Paper The art of folding When folding anything there are only 2 types of folds: Mountain and Valley.

The urge to affiliate with other forms of In Japanese myth the shaman Abe no life. Seimei would throw a piece of paper into - E. O. Wilson the air and it would turn into a crane and fly away. Cranes are a symbol of longevity Biophilia revolves around the concept and good fortune, and are said to live for that we as human beings are part of the 1,000 years. These are the main reasons Earth and are not an alien species here, why it is customary to fold paper cranes and that we are drawn to nature and for someone to wish them good health need to experience nature and be a part or for a good marriage. There is also a of it on all levels. certain level of discipline and dedication in making 1,000 of anything that is respected Biomimicry is mimicking life while in many cultures.

Biophilia is the “simple“ act of loving life.

An innovative approach that emphasizes the necessity of Maintaining, Enhancing, and Restoring the beneficial experience of nature in the built environment.

Humanities place in Nature.

Rules | Boundaries Origami only. Only folding paper not

cutting it in anyway.

-Kirigami is the Japanese art of folding and cutting paper.

Only using proportions. [1:1; 1:2; 1:3; 1:4] -Ex. If the paper is 12” on one side then the other side can only be 12”, 9”, 6”, or 3”.

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Biomimicry| Form Biomimicry happens when a designer stops looking at nature with the mindset of what can I extract from nature to do what i need to do. Instead the designer defines a challenge functionally [flexibility, cooling, strength under tension, wind resistance, sound protection, warming, etc] seeks out an organism or ecosystem that is the champion if that function, and then begins a conversation that starts with: How are you doing what I want to do, and how might I emulate your design?

You can either borrow the likeness of nature, or the lessons from nature in these 3 types of Biomimicry: -Mimicking Form and Shape -Mimicking a Process -Mimicking at an Ecosystem’s Level These tiers usually happen sequentially in the order of Form-Process-Ecosystem.

Form is also described in the term Geomimicry which is Imitating the Geometry of something. A designer first starting out with Biomimicry will generally start by imitating the Form of something in nature and stop there. Most if not all Biomimics do not agree with just imitating the form of something but would argue that true Biomimicry comes in when one

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starts to base the form off of why the organism has that form in the first place.

For instance a Kingfisher and a Japanese Bullet Train seemingly have nothing in common. But the bullet train used to create a sonic boom when exiting tunnels because of all of the pressure build up. The CEO of the Bullet train company decided to hire some engineers to find a solution to this problem. One of the engineers was at a lake one day and saw a Kingfisher dive into the water to catch some fish and it did not leave a ripple at all. The engineer shared this discovery with his team and they started to analysis how the Kingfisher did this. Their conclusion lead to the Kingfisher needing to develop a beak that would allow it dive into the water without starling and chasing away the fish. After a series of tests the engineers research proved that utilizing the Kingfisher’s beak as the front of the train would not only remove the sonic boom problem but would also allow the trains to run 15% more efficient. This is Form mimicry, it is not just applying a cool design of shape to something but looking to nature for the answer behind their question and basing the Form off of the Function.

Fig 05 - Biomimicry Form: Kingfisher

Fig 06 - Biomimicry Form: Barbs

Fig 07 - Biomimicry Form: Velcro

Fig 08 - Biomimicry Form: Whale Fig 09 - Biomimicry Form: Wind turbine

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Biomimicry| Process Mimicking a process found in Nature is far more difficult to emulate than mimicking the form because nature grows and adapts to what it needs while we as a species are extracting from nature to adapt and emulate what Nature does.

For instance we have chip bags that are made of 7 different layers that all do something different to keep the chips fresh while beetles have only one layer of their exoskeleton that does everything that we are trying to do. This is not a meant to talk down about the Human race and debate whether or not we are ruining the Earth, but rather through a series of different studies that are all looking to nature for design solutions.

I do not think that we were designed to just leave Earth and look for a new planet but that we can utilize the research and development that nature has been conducting for 3.8 billion years to our advantage and use it to help teach use how to take care of our planet.

Mimicking a Process: One process that scientists have been doing everything within their power

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to emulate for the past 200 years has been photosynthesis. The process of how plants take sunlight and carbon dioxide to produce energy to sustain itself and to provide oxygen for the entire animal kingdom to survive. You can imagine scientists for years yelling at leaves asking how it was doing what it was doing. In 1953 the first solar panel was designed and implemented, this was a huge step in the right direction but the ability to take carbon dioxide and produce oxygen had yet to be developed. Only in as recent as 2014 have scientists been able to mimic at both of these process’s in one membrane.

How does Nature build materials without using excessive heat?

One organism that builds materials without using excessive heat is the spider.

Spiders have 7 different silk producing glands on their abdomen. The spider uses 6 of these silks for the structure for it’s web while the 7th is a glue that binds all 6 different silks. A spider can not use high temperatures like how we do to produce it’s structure but it needs to be able to produce it within itself. Spider silk is 5 times the tensile strength of steel and triple that of the currently best synthetic

fibers. There is research going on right now that is looking to spider silk as a building material because of its amazing structural applications, by looking at the nano-structures of the 7 different types of silk. In the image below you can see that spider silk uses structures within structures and folding at a nano scale to provide strength.

Fig 10 - Man-made photosynthetic membrane

Fig 11 - Spider silk diagram

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Biomimicry| Ecosystem An ecosystem is a system, or a group of interconnected elements, formed by the interaction of a community of organisms with their environment.

Emulating nature at a systems level is, as Janine Benyus has stated, is the current phase of the Biomimicry movement.

Designing at a systems level can be incredibly difficult if as a designer one does not start with looking at the concept Genius of Place [Fredrick Law Olmsted].

This concept asks the question of what would nature be doing in this place if it was not effected by humans. Starting with this bench mark you now have a goal to reach that in most cases supersedes LEED qualifications.

A designer needs to start with research in Genius of Place is because from this stand point they can begin to look at local organisms and see what they do and ask how they do what they do and begin to take the natural ecosystem and create systems that begin to emulate the ecosystem at every turn that the project takes. An Ecosystem is made of many organisms working together to survive so why should a building or project or object not do the same?

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At the Systems Level the goal is to have sets/collections of solutions.

The Adjacent Possible is a concept coined

by Stewart Kauffman which states that there is a logical order of progression in the strategies that nature has to function.

For instance the Wood Pecker would have no need for being able to bore into trunks of trees if not for insects living in the trees. The insects would have no need to live inside of trees if not for predators outside of the tree.

Plants produce oxygen after chemically charging certain molecules from carbon dioxide. Plants would not have carbon dioxide if not for animals that breathe it out and the animals would not have oxygen to breathe if not for plants. This theory has the unfortunate side effect of bringing into question which came first the chicken or the egg.

Living Filtration System is a beautiful example of Biomimicry at a systems level.

This is a product of the Biomimicry design challenge which focused on food shortages around the globe. This team looked at the farming that is happening along the Mississippi River and how because of all

of the pesticides that farmers put into the soil to meet demand is cause a dead zone at where the Mississippi River meets the Gulf of Mexico and is damaging all of the ecosystems that happen along the river. Their response was to look at how nature would remove all of the harmful chemicals to create conditions conducive to life. Their design is a pipe that by using multiple layers it keeps the nutrients in the soil instead of sending them as run off into the river.

Fig 12 - Woodpecker

Fig 13 - Living filtration system diagram

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[Architecture & Geometry] Both have the power to express and organize space using concepts outside the constraints of a direct mapping to a physical representation. The principal distinction lies in their levels of abstraction and generality. Geometry looks for generalities and, once established (demonstrated or proved), offers them up for use; architecture employs these general relationships constructively to underpin and create specific spatial relationships. – Jane & Mark Burry

Fig 14 - Coast line construct study

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Origami is a metamorphic art form, you don’t add or subtract, you change it Michael Lafosse

Interconnected and Interdependent

Peace Tea House|Prologue Material: Paper Program: Tea House Concept: This project was a design study into reusing a material (paper) to design a Japanese Tea House.

In the spring of 2014 I took a class named Japanese Architecture and our first project was to find some object or material that we could reuse and design it into a wall. At this point Origami had always interested me but I had yet to dive into it, Japanese Architecture gave me the freedom to explore this rabbit hole and see

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Fig 15 - Ori-Vera [pg 20-21] Fig 16 - Hiroshima, Japan location analysis

where it would lead. While researching I stumbled upon a deceptively simple modular fold that had inherit structural capabilities.

By inserting the Tabs into the Pockets, the individual units begin to transfer loads and stress to one another. Another way to view this interaction is to look at the individual units as one organism in a colony like a single bee or ant. The hive begins to become it’s own organism when all of the individual organisms or units start to work together and take the focus

off of the singular and shift the view onto the collective.

After a few iterations that were not utilizing the structural capabilities of this fold I finally “gave in” and began to do what the paper was “telling” me to do.

This lead into the next project which was taking the wall we designed previously and creating a Japanese Tea House.

The Children’s Peace Memorial, based within the Hiroshima Peace Memorial Park, is a sculpture that gives hope to

Fig 17 - Hiroshima, Japan Children’s Peace Memorial

children. This Sculpture tells the story of one Japanese girl, Sadoka, who got radiation poisoning from the nuclear bombs, but placed her hope in the Japanese lore that says that if you make 1,000 paper cranes then you can have your wish granted.

This is a Tea House that is made entirely from triangular, modular origami pieces that when placed together can provide it’s own structural support. As part of the Tea Ceremony the guest would learn the ancient art of making a paper crane and have views to the steel paper crane that is in the arms of Sadoka.

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Fig 18 - Tea House folding process

Fig 19 - Tea House folding study

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Fig 20 - Tea House 1” = 1’ unit

Fig 21 - Tea House folding process

Fig 23 - Tea House wall study

Fig 22 - Tea House folding process

Fig 24 - Tea House mitate

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Fig 25 - Ori-Vera unit folding diagram

Fig 26 - Japanese Architecture final section model 1” = 1’-0” section model depicting the tea serving area [pg 30-31]

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Ori-Vera | Folding Material: Paper Program: Structural system Concept: This project was a structural study examining and testing the structural capabilities of paper as a building material.

Ori-Vera is the point at which origami, geomimicry, and modularity meet. OriVera is named after the Japanese word Ori and an aloe vera plant. On August 24, 2015 in our first meeting with Mark he asked, ”If you were to walk out this door right now what would you make?”

I responded, “I would begin to make my Japanese Tea House full scale.” I knew at this point that I wanted to examine the meeting of Architecture, Biomimicry, and Origami and attempting to make my Tea House seemed like a fun and good project to start with. I did not know what I was getting myself into.

This project started by collecting USF’s day old school newspapers from around campus and separating the pages into stacks of 3 sheets each. I then began to cut the news paper in half, perpendicular to the fold of the newspaper, using a table saw to acquire the necessary 1:4 proportions.

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The folding process was tedious, time consuming, and took a week and a half, from collection to completion. But because the fold was incredibly simple I was able to teach my peers who were walking by as I was folding and collectively they folded approximately 80 units.

One question that I was asked many times while folding, and throughout my whole thesis was, “You know how to work the computer programs to get them to do whatever you want them to do, so why are you spending hours folding when you could just use grasshopper and render it?”

This question was incredibly valid, but the computer does not teach you about the material’s properties, yes you can program them into the program but then you lose the tactility and in some cases the craft or care of making that makes architecture...well architecture and not just buildings, the experience.

The folding experience may have been tedious but it was also enjoyable. In doing a repetitious task your mind is free to wander

Fig 27 - Ori-Vera unit folding order. 1 - 8

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Ori-Vera |Assembly At the end of week two I began to assemble Ori-Vera although at that time it had yet to be named Ori-Vera. It took approximately 8 hours to assemble all 1,570 units. The intent was to position the completed “Tail“ as I had my Tea House. But, upon standing up the Tail the newspaper began to collapse from it’s own weight, and promptly disassembled.

At this point I was extremely depressed but my friends who were there refused to let that be the end. We began to reassemble the origami units into one of the forms that I had experimented with when designing my Tea House.

When telling anyone what I was attempting to do with newspaper they would look at me very quizzically but once I showed them pictures of Ori-Vera they would 1 understand and 2 be amazed by what simple newspaper could make.

This made me begin to realize that the more closely something resembles nature the more likely someone is to feel like they understand it or feel like they have some kind of connection to it.

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Fig 28 - Ori-Vera assembly. L-R: Nathan Baker, Edward Smith, Vignesh Madhavan

Fig 29 - Ori-Vera assembly. Nathan Baker

Fig 30 - Ori-Vera assembly. Nathan Baker, Vignesh Madhavan

Fig 31 - Ori-Vera assembly

Fig 32 - Ori-Vera assembly. Nathan Baker, Erik McGartland

Fig 33 - Ori-Vera assembly. Erick McGartland

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Ori-Vera |Hive By inserting the Tabs into the Pockets, the individual units begin to transfer loads and stress to one another. Another way to view this interaction is to look at the individual units as one organism in a colony like a single bee or ant. The hive begins to become it’s own organism when all of the individual organisms or units start to work together and take the focus off of the singular and onto the collective.

Because Ori-Vera is made of 1,570 individual units they are all able to move independently of each other and because of this the entire structure is able to move and be opened and closed similar to a flower.

Paper is commonly seen as a week material and incapable of supporting itself, preventing the elements from entering, and working at such a scale so as to provide any type of human habitation.

Today paper is made from paper pulp, which includes wood chips, recycled paper, or both; but if we look at a cross section of a tree we see that it is made of rings upon rings. The rings tell us not only how old the tree is but also that a tree is made using layers. Making true the statement by Linda Pailey, “Dimension

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adds strength.”

If you roll up a piece of paper, or anything really, then as long as it holds its form then it can stand. The materiality is the final deciding factor in what the rolled material can withstand. Obviously we know that in comparison a letter size sheet of paper and a letter size sheet of steel can hold drastically different amounts of weight.

But the point in this study was not to match steel’s strength with paper but instead to experiment with what paper can do structurally.

It is believed that Origami, or some form of paper folding, began shortly after paper was first invented in China.

This theory follows the China to Korea to Japan transition, which is the same line that the making of paper followed. What is known for certain is that Paper folding in Japanese culture and tradition evolved the farthest, which is why today most people believe that origami began in Japan.

Fig 34 - Ori-Vera final installation

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Ori-Vera |Exponential Growth As stated in my abstract I choose origami because of it is a passion of mine, but it also presented itself as a design challenge that I could learn from and begin studying the pros and cons of modular prefabricated construction.

As discussed a rolled sheet of paper can hold it’s form and be structural for quite a time but once the paper is laid flat, over time the subtle bend in the paper will work itself out with gravity. But if you fold the paper then the fold will not only be able to hold weight similarly to the rolled paper but once you lay it flat the paper may become flat eventually but the fold line will still be there. In folding anything you are imprinting a memory onto the object. Throughout this document you will see variations in folding techniques but not rolled or curved, and this distinction is important to make because my discipline and lens through which I view the world is architecture and that applies also to how I approach Origami. What I mean is that when we enter a space, no matter how minuet our presence is or how brief our time is there, we leave a spatial memory there just as it leaves a spatial memory on us. The thing that changes is the depth and intensity of the fold or experience, which

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determines if we remember that space 5 seconds, minutes, hours, days, months, or years away.

Essentially architecture boils down to an experience. And it is a memorable experience that architects seek to create through light, sound, shadow, materiality, sight, height, tension, compression, details, temperature, wind, focus, atmosphere, etc. all of these should be studied and a primary spatial quality chosen when designing any space.

Fig 35 - Mark Weston hugging final Ori-Vera installation to show height [pg 37]

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Fig 36 - Ori-Vera final installation

Fig 37 - Ori-Vera final installation

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Fig 38 - Ori-Vera final installation Fig 39 - Ori-Vera final installation [pg 39]

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As designers, our steps are more accurately reflected by listening, researching, designing, building, occupying, and learning. - Eddy Krygiel

Fit Form to Function

X-C-O |Connection Materials: Wood | Steel Program: Stool Concept: This project is a study into the material properties of wood and steel.

During the fall of 2015 (my first semester of thesis) I took a class named Detail Making taught by Giancarlo Gusti, I thought his class would influence my thesis as I was beginning to explore the detailing of joints. I also knew that I wanted to work at a one to one scale and that this class in particular would force me to design and build at the human scale.

Little did I know that I would end up learning more about my thesis from this class and about how materials work. The studies conducted during this class include: X-C-O, Reflection, and Keikoku.

In downtown St Petersburg, FL the University of South Florida’s (USF) School of Architecture and Community Design (SACD) acquired an old shuffle board club house in 2014 and they plan on repurposing the club house into SACD’s St Pete studio. This club house is the site for this stool.

Since everyone in the class was in architecture school it was decided that we

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would be the best candidates to design a stool that would be comfortable yet be able to withstand all the wear and tear that a studio stool goes through. This stool is meant to be a prototype which then would be refined and then manufactured for the studios in this location.

Taking this information into consideration I started with a of 4’ x 4’ sheet of plywood so to be mindful of materials and only use what needed to be used. I decided on a C shaped form for the legs so as to cut the seat from the center of the C. The interlocking of the legs was the most sturdy way to help the stool keep its balance, or so I thought. The steel found its home in providing the structural strength At each scale of design, I ran into the issue of the stool tipping over. One purpose of a stool is to be able to lean on it, not just sit on it, and my first design did not work for this use therefore it was a failure.

After a few days of sketching I decided to design the steel in such a way so as to not only be the structure for the stool, but also be the supports for it, similar to a flying buttress.

Fig 40 - Parti model

Fig 41 - 1/2 scale mode

Fig 42 - 1/2 scale connection model detail

Fig 43 - Full scale connection detail

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X-C-O |Fabrication No material is permanently attached to another, everything is connected through bolt lamination. With this type of connection the wood members can be replaced as needed while the steel stays as the structural member. each student will have the opportunity to customize their stool with different types of wood or engravings because the wood is being used to keep the steel from buckling and is essentially making the steel hold its form.

This project was my first time using steel and I was focused on using the materials as they wanted to be used. Steel being heavy and strong and wood being light and sturdy. The steel provides the strength while the wood provides the form.

Fig 44 - Logo detail

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The wood was cut out of a 24” by 36” sheet of 1/2” cabinet grade birch plywood, which was then sanded using varying grits of sand paper then finished using polyurethane.

The steel was water-jet out of a 1/4” sheet of cold rolled steel. Once cut I polished the steel using grinder to remove any residue of rust and then coated it in acetone to stop it from rusting. Finally I applied a coat of oil based polyurethane to seal it completely.

The foot rest is a 5/8” steel rod that was hand rolled into shape using a pipe rolling machine. Which was then treated with acetone and sealed using oil based polyurethane.

Fig 45 - Steel polishing process photo Fig 46 - X-C-O final process photo [pg 45]

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Fig 47 - X-C-O top of leg steel connection detail

Fig 48 - X-C-O footrest detail

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Fig 49 - X-C-O logo detail Fig 50 - X-C-O underside of seat [pg 47]

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Fig 51 - Final jury sketch scroll

Fig 52 - Final jury, final stool

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Fig 53 - Final jury, final stool Fig 54 - 1/2 scale travel layout [pg 49] Fig 55 - X-C-O final photo [pg 50] Fig 56 - X-C-O final photo [pg 51]

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Architecture is the thoughtful making of space. - Louis Kahn

Fig 57 - X-C-O final photo [pg 52]

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Fig 58 - Material Lamination

Fig 59 - Overall Dimensions

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A B

D C

E

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Fig 60 - (A)Material lamination Fig 61 - (B)Logo detail Fig 62 - (C) Logo detail Fig 63 - (D) Material lamination Fig 64 - (E)Water-jet material layouts

General Notes: a) Use water-jet file to prefabricate all elements of this stool. b) All wood elements are “laminated� using joint connector screws.

Fig 65 - Overall Dimensions

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Fig 66 - Coastline construct study

Design involves both exploration and the resolution of ambiguity. - Achim Menges and Robert Aish

Look deep into nature, & then you will understand everything better. - Albert Einstein

Cultivate Cooperative Relationships

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Reflection | Moment Materials: Concrete | Steel Program: Lamp Concept: This project is a study into how nature holds light.

Every thing we do has story and every story has beginning. In June 2014 I was able to travel to Japan and visit several different types of Japanese gardens. In one garden in particular someone had placed a leaf to act as a spout for an elevated basin. As seen to the right this leaf was held in place by a stone which acted like a counter weight that allowed the leaf to fulfill its purpose of directing the water.

Fast forward to the fall of 2015 and I am being asked to design a lamp that uses concrete and steel. I know that when the time came to design a lamp for detail making that I wanted to design an oil lamp, but I had no idea how it would work or look like. Because of my focus on Biomimicry I began the design process as a Biomimic by asking “How does nature hold light?� In my research I found different types of creatures that generate their own light but because I wanted to focus on designing an oil lamp I wanted to steer away from electricity and to use a living creature as a model to base my project off

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of I would need to go the electricity route.

I was in this time that I heeded the advice of Albert Einstein and decided to spend some time in nature to see what inspiration could be found. While walking along a local river and peering looking at the shadows that the tree canopy creates I realized that nature might generate light but the only time that it holds light is in a reflection, at that moment my mind wandered to my memory in the Japanese garden.

A reflection lasts for only a moment and then changes, never to be the same again.

It was this fleeting concept of capturing a moment that drove the rest of this project.

Fig 67 - Parti sketch

Fig 68 - Reflection inspiration

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Reflection | Process I had never built or really even examined an oil lamp before so in order to move forward I began not only by researching how they work but also by make a small one to figure out what the maximum distance could be from the top of the oil to the base of the flame.

It was during this time that I went to Austin Texas for the 8th annual Biomimicry Education Summit and the South by Southwest Eco Conference. It was there that I was finally able to meet other Biomimicry enthusiasts, specialists, and educators. When speaking to all of these people from different fields of study I spoke to them about my project and they continually encouraged me to not just ask how would nature hold light but also how does nature contain liquid, how would nature get the oil to the pooling location. One of the biggest things I learned from attending these conferences was to continually, at every stage of design, ask how does nature do ______.

At this point I began to look at the properties of each of my materials. Steel can withstand the heat of the flame therefore it would hold the wick and by extension the flame. Concrete is porous

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but can be sealed to prevent liquid from seeping through, therefore the concrete would become the oil container. The wick needed to be string to allow the proper amount of oil to flow through it to keep the fire lit. Other than the oil these were my necessary elements to get my lamp to work.

The form of the concrete was derived from a water droplet and leaf. Because of the organic nature that I had decided on for the form of the concrete I scripted the concrete in Grasshopper and then took the contour lines into Rhinoceros which then found it’s way to AutoCAD and finally the laser cutter. I cut the formwork out of 1/4” plywood which was then “laminated“ together by lining up the cut holes for the dowels and then sanded.

The process for how you go about making something is usually as interesting as the final outcome. Since my thesis is an exploration of the architectural design process from 1 to 3 dimensions it only makes sense to keep the same principles throughout the design.

Fig 69 - Oil level test

Fig 70 - Oil level test

Fig 71 - Laser cut formwork

Fig 72 - Formwork assembled

Fig 73 - Formwork sanding process

Fig 74 - Formwork disassembled

Fig 75 - Formwork assembled for pouring

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Reflection | The Detail To further my concept of capturing a moment in time, the lamp found it’s home in a wooden tray that also held sand and a rock that I found while wandering through a dried up river bed in Austin.

The detail of this project became a huge point of conflict not only inwardly but also with my peers. Honestly I would not have such a rigid concept if not for my friends questioning my relentlessly about how my detail was a detail.

First lets define a detail. A detail is the designed meeting of one or more materials. When you look at the built environment every aspect of a building needs to be taken into consideration, for instance how glass is going to connect to metal and then to concrete or wood which in turn connects to a concrete foundation.

This assembly is incredibly complicated and would fail horribly if it did not keep the elements outside and the building from being shaken. A detail has intention behind it’s design.

The first sketch and intention of the location of the steel rod was cutting through the concrete which would stabilize the concrete. This concept was forced to

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change after the first two concrete pours turned out to be failures because of the hole I was attempting to cut in the thinnest portion of the concrete. The location of the steel rod changed to the end of the lamp because I was playing with the remains of my fractured concrete and realized that because of how the formwork was built it left a U shape which happened to fit the steel rod when I was experimenting. This was not a detail, it was a happy accident.

But it became a detail once I took the time to explore this new placement and actually designed it by placing a half steel ring into the concrete while it was curing so as to be added strength for the rod, and by lathing a 1/4” groove into the steel rod.

The steel rod acts as the counter balance to keep the concrete and oil from spilling.

The concrete base was designed in such a way as to keep it lop sided and uneven so that the concrete would be unable to fulfill it’s purpose without the steel rod. The steel rod is tapped using a 1/4” tapping tool so as to hold a 1/4” connecting cap bolt that locks the wick in place and helps to keep the flame from descending farther than the rod.

Fig 76 - Reflection final elements

Fig 78 - Reflection lighting the flame

Fig 77 - Reflection detail

Fig 79 - Reflection detail

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A

B

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Fig 80 - (A)Formwork laser cutter file Fig 81 - (B)Formwork assembled section

General Notes: a) Use laser cut file to make formwork. b) Use 1/4� material to cut formwork. c) Use 1/8: diameter round dowels to laminate formwork. d) Once laminated, use sand paper of varying increasing grits to smooth the inside of the formwork to desired smoothness. e) Type of wood used for lamp tray is up to user. f) Hand braided 1/16� diameter cotton rope used for wick. g) Placement of lamp is sand is up to user.

Fig 84 - Reflection tapping the steel rod

Fig 85 - Reflection finished steel rod

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Fig 82 - (A) Reflection steel rod fabrication Fig 83 - (B) Reflection sections

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Fig 86 - Reflection final photo

Fig 88 - Reflection elevation

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Fig 87 - Reflection detail

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B

C Fig 89 - (A) Reflection steel rod dimensions Fig 90 - (B) Reflection plan Fig 91 - (C) Reflection material plan70|71

Fig 92 - Reflection final photo

Design computation provides the possibilities of integrating physical properties and material behavior as generative drivers in the architectural design process. Thus architectural form, material formation and structural performance and structural performance can be considered synchronously. While in most architectural design approaches a scheme is conceived and drawn, modeled or even digitally generated as a construct of geometrically described, inert parts, in computational design material elements can be defined by behavior rather than shape. Thus larger assemblies can be explored and derived from the interaction of such behavioral elements and external data, and understood as contributing to an overall per-formative capacity. Here, the design space is defined and constrained by material behavior and its possible modulations through variations in production and fabrication. Far beyond standardized building systems and well-established structural typologies, unknown points in the design space can be explored by employing design computation as a calibration between the virtual processes of generating form and the physical becoming of material gestalt. In reciprocity with defined design parameters, material behavior unleashes its capacity to generate, organize, and structure: material computes. - Achim Menges

What is important is that the design tools are able to capture both the underlying design rules from which a range of potential solutions can be explored, and facilitate how this ‘solution space’ can be refined into a suitable candidate for construction. - Achim Menges and Robert Aish

Fig 93 - Mountain construct study

A personal hierarchical approach has often led to the generation being prioritized over its subsequent materialism... Material behavior computes form. - Achim Menges

Use Multi-Functional Design

Tes-Ori |Folded Tesselation Materials: Paper | Wood | Leather Program: Study Concept: This project is an exploration into the miura fold and translating origami principles into different materials.

One of the lectures that I attended while in Austin covered deployable structures whose origin was in the way that Koryo Miura (a Japanese astrophysicist) invented a way of folding an entire sheet of paper into a very small surface area and yet be able to be unfolded and refolded simply by either pulling or pushing on the opposite corners of the paper.

Upon learning about this fold I was simply amazed not just that you could program a sheet of paper based upon the folds you place in it, but more so that with exerting no more energy as you would by clapping, that the paper could collapse in on itself or expand to its starting size (rigid origami).

This concept is being used by NASA and other space exploration programs in sending the maximum amount of surface area of solar panels into space. At the same time medical researchers are looking at rigid origami folds for the purposes of being able to stop or alleviate blood clots.

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The Miura fold is simply the same fold pattern repeated endlessly to the edges of the paper. The catch is that the valley (blue) and mountain (red) folds alternate in both the X and Y axises to allow for the paper to compress correctly. The fold pattern is a tessellation of parallelograms whose angles may change based upon the one who is folding, and you still reach the same result.

Once experimenting with varying thicknesses of paper and changing the angles within the parallelograms; I attempted to bend 1/16� plywood and basswood after soaking them in boiling water. This test did not go as I had planned and I only ended up snapping the wood, but you can learn from failures as well and in most cases more than through successes.

Fig 94 - Miura-ori fold lines

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Fig 95 - Miura ori sheet

Fig 96 - Miura ori sheet study

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Fig 97 - Miura ori sheet study Fig 98 - Miura ori sheet [pg 81]

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Tes-Ori |Joint Moving forward I began to consider how wood could fold and how if I wanted to “fold” it I would need some type of detail to allow the wood to fold. The material efficiency side of me took over and I decided to join the laser cut parallelograms with wooden elements that were cut from the middle of the parallelograms.

While this gave me desired result of “folding“ the wood, the connector elements were too weak and restrictive. It was at this point that I looked into string and Zipties, but both of these materials played to each of the weaknesses that the wood connectors possessed.

While speaking with some peers about this dilemma of mine one of them told me about his struggles of using leather for a chair he had designed and made and how it was very loose yet restrictive so he had to bend it then turned to leather, and I was able to achieve my sought after folding joint. Primitive as it is, I am working with each of the materials strengths.

The leather strips have small slits cut into them so that the excess from the cut outs of the wood cn slide into the slits can create a detail that when replicated on any scale

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begins to speak about the multiplicity of this study.

There is a subtle beauty in the multiplicity that is nature. No matter how old you are nature still causes both the young and old to stand in awe and reverence of the power and allure of the natural world. I think that part of the beauty of nature comes from the complexity of the whole while knowing that the individual is just as complex.

Fig 99 - Tes-Ori elements

Fig 100 - Tes-Ori form study

Fig 101 - Tes-Ori flat sheet

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Fig 102 - Tes-Ori form study

Fig 103 - Tes-Ori folding detail

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Fig 104 - Tes-Ori form study Fig 105 - Tes-Ori form study [pg 85]

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Rather than being willful and arbitrary, even the most complex geometry could provide a formal resolution of competing forces and requirements. It could suggest and resolve both structural efficiency and environmental sensitivity. Achim Menges

Be Resource Efficient (Material & Energy)

Keikoku |Valley Materials: Wood | Glass Program: Table Concept: This project began as an extension of Tes-Ori and developed into a study of a folding detail.

At this point folding was an important part of my thesis, yet I had not explored in-depth the simplicity yet complexity of a single fold. This project is a study into the detailing of a fold. Keikoku is Japanese for Valley as in the type of fold that I focused on for this project I began this project by taking extra wood parallelograms from Tes-Ori and seeing how i could arrange the elements, but this way of formally designing a table was completely contradictory to all my studies thus far. I took a step back and reexamined the rules I had set for myself at the beginning of thesis.

- Rule #1: Origami only. Only folding paper not cutting it in anyway. What was the point of making rules if I did not follow them? I started to move forward in this direction of keeping my rule in place and I started to like where it was going but then I moved out of the parti design phase and began to think about the final materiality: 1/2� cabinet

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grade birch plywood. I choose this type of wood because it presented itself as the best option to “fold.“ At this point of entering the final material selection process I remembered that you can not fold wood, silly I know, I figured this out in Ori-Vera but there I was. Using wood in a folding manner required for the elements to be cut just like in Tes-Ori, so what was the point of having Rule #1 if it restricted me this much? All of my studies begin with origami in some manner and with a final material in the back of my mind. I decided to break my own rule on the basis of materiality. You can not fold wood like paper, so why be restricted by the conversion from one material to another?

I decided to still acquire all of the pieces that I needed from a single square sheet of wood as a personal design challenge.

All of my studies rotated around the concept of an individual unit that when combined with another would start to speak about the whole and no longer about the singular. Therefore from this one sheet I designed 2 units that could be cut out of it.

Fig 106 - Keikoku parti

Fig 107 - Keikoku parti

Fig 109 - Unfinished elements assembled

Fig 108 - Staining wood process

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Keikoku |Unit All throughout nature you will see the most efficient structural systems, and these are designed from placing material only where it absolutely needs to be. take a bird’s bones for example, they need to be light enough to allow the bird to fly yet also strong enough to fly. This way of removing excess material and leaving it where it would structurally be needed lead to 3 seemingly different elements that make up one unit. If this process was not done then end product would have been very bulky and would not have embodied the principles I had been studying.

I did test out different types of connectors to allow for the folding effect that I wanted but just like in Tes-Ori leather was the best choice. I did stain the wood to a dark color instead of leaving it the blonde color for the purposes of individuality just like X-C-O. Staining does change the pigment of a material but the materiality still shows through. Whereas paint not only chips off but also hides what material was used to construct the spoken of object. Over time leather stretches out and is not as rigid, therefore I dyed the leather to prolong the life of the leather.

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Fig 110 - Finished elements

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Fig 111 - Keikoku detail

Fig 112 - Keikoku detail

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Fig 113 - Keikoku detail Fig 114 - Unfinished Keikoku elements [pg 93]

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Fig 115 - Keikoku detail

Fig 116 - Keikoku detail

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Fig 117 - Keikoku detail Fig 118 - Keikoku final folded flat [pg 95] Fig 119 - Keikoku final photo [pg 96-97]

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Fig 120 - Keikoku detail

Fig 121 - Folded Keikoku glass storage

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Fig 122 - Keikoku detail Fig 123 - Keikoku final photo [pg 99]

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Fig 124 - Joint detail layout Fig 125 - Detail Sections (7-11, 13)

Fig 126 - Keikoku plan

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Fig 127 - CNC router cut file

General Notes: a) Use laser cut file to cut all wood elements. b) Cut leather strips from 1/8” leather. c) Refer to client for treatment of wood & leather. d) Cut 4 of leather strip A 4”. e) Cut 2 of leather strip B 8”. f) Cut 1 of leather strip C 49”. g) 5/8” wood dowels are to be used to secure the wood elements to one another. h) Refer to cut file for dimensions of 1/4” glass.

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C

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Fig 128 - Leather strips layout

Fig 129 - Detail Section Fig 130 - Detail Section Fig 131 - Section102|103

Fig 132 - Mountain construct study

If we choose to accept the ultimate design challenge – integration between nature and humankind, between the built and natural environments – we will need to rethink our attitude toward practice. - Eddy Krygiel

Nature does nothing uselessly. - Aristotle

Combine Modular and Nested Components

Tri-Ori |3 corners Materials: Paper | Wood | Steel Program: Joint Concept: This project is an exploration into a modular origami unit.

All through out nature, from leaves to our skin, from the cracking of ice or glass to rivers, you will find that there is a way of connecting or splitting that all of nature follows. This is a rule of 3’s.

The shape that nature utilizes the most out of any other is the hexagon. Just as we see with bees hexagons are amazing at being about store large quantities in a compressed space. Let’s take our skin for example, it is a series of fractalizing hexagons. there is an inherent symmetry in hexagons that when you start to tile or pack them together three edges will be in contact, unlike the conventional box packing which places all of the load from one onto the one right below it instead of transferring the load. Which we know is extremely more structural because it is based off of a triangle.

Nature’s goto “pattern” is the voronoi tessellation which can be most clearly seen in the dragonfly’s wing. This natural, mathematical equation was named after

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Georgy Voronoy after he derived the equation. As you can see there are no crosses only branches from the main line, and this continues at different scales so as to ensure structural integrity.

Fig 133 - Dragonfly wing

Fig 134 - Leaf

Fig 135 - Rivers in Egypt

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Seemingly Random arrays of cells such as bubbles or the cells in plants or animals, are actually arrangements of least energy, and manifest the most stable possible morphology. Joining the centers of such arrays give rise to triangulated network, just as in the case of the tiling of regular hexagons. Inherent stability is achieved while surface to volume is minimized. This rigorous structure appears random because of the differential volume of the cells. Although, because of this differential volume, cells have different numbers of sides in this planar example, the average cell shape will have six sides, this again corresponds to the number of sides of a regular hexagon. Furthermore, angles measured as tangents at the points of intersection will be shown to be 120 degrees, the face angle of the regular hexagon. Randomness is not an appropriate characterization of this morphology. - Peter Jon Pearce

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Fig 136 - Bubble packing diagram

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Tri-Ori |Connection The base is an equilateral triangle which is then folded into a three pronged unit that connects to other units. Since it is three pronged and that the output location is the same as the input the units when combined create hexagonal surface.

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Fig 137 - Ori-Tri final photo

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Fig 138 - Ori-Tri folding order 1 - 8

Fig 139 - Ori-Tri assembly instructions 1 - 8

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Fig 140 - Ori-Tri final photo

Fig 141 - Ori-Tri final photo

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Fig 142 - Ori-Tri final photo Fig 143 - Ori-Tri final photo [pg 117] Fig 144 - Ori-Tri final photo [pg 118-119]

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Where there is matter, there is geometry. - Johannes Kepler

Fig 145 - Ori-Tri parasitic composition 01

Fig 146 - Ori-Tri parasitic composition 02

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Fig 147 - Ori-Tri parasitic composition 03 Fig 148 - Ori-Tri parasitic composition 04 [pg 121] Fig 149 - Ori-Tri final photo [pg 122] Fig 150 - Ori-Tri one cluster [pg 123]

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Where material becomes introduced as a parameter of form-generation, it is often a representative measure based upon geometric rules in computation. Achim Menges

Embody Resilience through Variation, Redundancy, & Decentralization

Hex Petal |Unit Materials: Wood | Steel | Concrete Program: Structural Unit Concept: This project is an exploration into designing a three dimensional structural unit.

Hex Petal was the next logical step after Ori-Tri since the intent was to create a structural unit from the start, all of the projects leading up to this point were Unit Tests to figure out what qualities would my final unit need to possess to be successful in designing a space.

Ori-Tri could only create a hexagonally tessellated surface, it did not have the possibility of extending into the third dimension and becoming a structural component. Therefore it was another test that, yes had embodied all of the knowledge of the previous units, but was still lacking.

Since the first day that i started designing Hex Petal I always had the idea of having these two components that would be identical but would connect together to become the unit. Each component started off with having six petal elements which when combined to form a Unit would have 12 different inputs and outputs. This

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design quickly changed once it became clear that the Unit was starting to become too complicated.

In my second semester of graduate school I took Core Design and Graphics II with Stanley Russell. Stan lived in Japan for many years and that life experience is still strongly with him. In the past Japanese building guilds would all have their own way of doing a certain type of connection and they would guard that secret and only members of the guild were allowed to know it. Because of this and the way that Japanese culture has always been there is a certain air of craft behind all of their designs and it is this dedication to craft that I have attempted to keep with me throughout this Thesis experience. We would meet 3 times a week with our professor in Core II and at least two times a week Stan would remind me to keep my design simple and let the details speak for the project.

It was this constant reminder in Core II that I still carry with me to this day.

Although my process may become complicated I still do my best to keep the overall design simple.

Fig 151 - Water-jet steel connection members

Fig 152 - Process photo

Fig 153 - Pouring concrete

Fig 154 - Wood housing members

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Fig 155 - Hex Petal draft 01 component

Fig 156 - Hex Petal draft 01 unit

Fig 157 - Hex Petal draft 02 component

Fig 158 - Hex Petal draft 02 unit

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129 Fig 159 - Hex Petal draft 02 assembled 128|

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Fig 160 - 96° final unit [pg 130] Fig 161 - 96° exploded axonometric 131 Fig 162 130| - 96° plan

Fig 163 - 96° to 46° elevation

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Complexity that works is built up out of modules that work perfectly, layered one over the other – Kevin Kelly

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135 134|code Fig 164 - Hew Petal grasshopper

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Fig 165 - Close to open render

What magic is there in the rule of six that compels the snowflakes to conform so rigidly? – Wilson Bentley

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Fig 166 - 96째 connection to 46째 Fig 167 - 96째 connection to 46째 photo [pg 139]

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Fig 168 - 46° plan Fig 169 - 46° final photo Fig 170 - 46° final photo [pg 141]

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Fig 171 - 46째 to 46째 connection detail Fig 172 - 46째 to 46째 final photo [pg 143]

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Fig 173 - Footing connection detail Fig 174 - Footing plan Fig 175 - Final assembled column [pg 145] Fig 176 - Ori-Tri Threshold graphic [pg 156]

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“The Part can never be well unless the Whole is well.” – Plato

An algorithm must be seen to be believed. - Donald Knuth

F i gu r es Fig 01 - Fig 02 - Fig 03 - Fig 04 - Fig 06 - Fig 07 - Fig 08 - Fig 05 - Fig 09 - Fig 11 - Fig 10 - Fig 13 - Fig 12 - Fig 14 - Fig 15 - Fig 16 - Fig 17 - Fig 18 - Fig 19 - Fig 20 - Fig 21 - Fig 23 - Fig 22 - Fig 24 - Fig 25 - Fig 26 - Fig 27 - Fig 29 - Fig 30 - Fig 32 -

Ori-Vera final photo [cover] Miura ori sheet [pg 2-3] Rocks I stacked in Austin, TX [pg 4-5] Architecture, Biomimicry, Origami, Reciprocal, Algorithmic, Design Diagram Biomimicry Form: Barbs Biomimicry Form: Velcro Biomimicry Form: Whale Biomimicry Form: Kingfisher Biomimicry Form: Wind turbine Spider silk diagram Man-made photosynthetic membrane Living filtration system diagram Woodpecker Coast line construct study Ori-Vera [pg 20-21] Hiroshima, Japan location analysis Hiroshima, Japan Children’s Peace Memorial Tea House folding process Tea House folding study Tea House 1” = 1’ unit Tea House folding process Tea House wall study Tea House folding process Tea House mitate Ori-Vera unit folding diagram Japanese Architecture final section model 1” = 1’-0” section model depicting the tea serving area [pg 30-31] Ori-Vera unit folding order. 1 - 8 Ori-Vera assembly. Nathan Baker Ori-Vera assembly. Nathan Baker, Vignesh Madhavan Ori-Vera assembly. Nathan Baker, Erik McGartland

7 7 7 7 13 13 13 13 13 15 15 17 17 19 24 24 25 26 26 26 27 27 27 27 28 28 31 33 33 33

Fig 33 - Fig 31 - Fig 28 - Fig 34 - Fig 35 - Fig 36 - Fig 37 - Fig 38 - Fig 39 - Fig 40 - Fig 42 - Fig 41 - Fig 43 - Fig 44 - Fig 45 - Fig 46 - Fig 47 - Fig 48 - Fig 49 - Fig 50 - Fig 51 - Fig 52 - Fig 53 - Fig 54 - Fig 55 - Fig 56 - Fig 57 - Fig 58 - Fig 59 - Fig 60 -

Ori-Vera assembly. Erick McGartland Ori-Vera assembly Ori-Vera assembly. L-R: Nathan Baker, Edward Smith, Vignesh Madhavan Ori-Vera final installation Mark Weston hugging final Ori-Vera installation to show height [pg 37] Ori-Vera final installation Ori-Vera final installation Ori-Vera final installation Ori-Vera final installation [pg 39] Parti model 1/2 scale connection model detail 1/2 scale mode Full scale connection detail Logo detail Steel polishing process photo X-C-O final process photo [pg 45] X-C-O top of leg steel connection detail X-C-O footrest detail X-C-O logo detail X-C-O underside of seat [pg 47] Final jury sketch scroll Final jury, final stool Final jury, final stool 1/2 scale travel layout [pg 49] X-C-O final photo [pg 50] X-C-O final photo [pg 51] X-C-O final photo [pg 52] Material Lamination Overall Dimensions (A)Material lamination

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Figures Cont.

Fig 61 - Fig 62 - Fig 63 - Fig 64 - Fig 65 - Fig 66 - Fig 67 - Fig 68 - Fig 69 - Fig 70 - Fig 73 - Fig 74 - Fig 71 - Fig 75 - Fig 72 - Fig 78 - Fig 76 - Fig 77 - Fig 79 - Fig 80 - Fig 81 - Fig 84 - Fig 82 - Fig 83 - Fig 85 - Fig 86 - Fig 88 - Fig 87 - Fig 89 - Fig 90 -

(B)Logo detail (C) Logo detail (D) Material lamination (E)Water-jet material layouts Overall Dimensions Coastline construct study Parti sketch Reflection inspiration Oil level test Oil level test Formwork sanding process Formwork disassembled Laser cut formwork Formwork assembled for pouring Formwork assembled Reflection lighting the flame Reflection final elements Reflection detail Reflection detail (A)Formwork laser cutter file (B)Formwork assembled section Reflection tapping the steel rod (A) Reflection steel rod fabrication (B) Reflection sections Reflection finished steel rod Reflection final photo Reflection elevation Reflection detail (A) Reflection steel rod dimensions (B) Reflection plan

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Fig 91 - Fig 92 - Fig 93 - Fig 94 - Fig 95 - Fig 96 - Fig 97 - Fig 98 - Fig 101 - Fig 99 - Fig 100 - Fig 102 - Fig 103 - Fig 104 - Fig 105 - Fig 106 - Fig 109 - Fig 107 - Fig 108 - Fig 110 - Fig 111 - Fig 112 - Fig 113 - Fig 114 - Fig 115 - Fig 116 - Fig 117 - Fig 118 - Fig 119 - Fig 120 -

(C) Reflection material plan Reflection final photo Mountain construct study Miura-ori fold lines Miura ori sheet Miura ori sheet study Miura ori sheet study Miura ori sheet [pg 81] Tes-Ori flat sheet Tes-Ori elements Tes-Ori form study Tes-Ori form study Tes-Ori folding detail Tes-Ori form study Tes-Ori form study [pg 85] Keikoku parti Unfinished elements assembled Keikoku parti Staining wood process Finished elements Keikoku detail Keikoku detail Keikoku detail Unfinished Keikoku elements [pg 93] Keikoku detail Keikoku detail Keikoku detail Keikoku final folded flat [pg 95] Keikoku final photo [pg 96-97] Keikoku detail

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Figures Cont.

Fig 121 - Fig 122 - Fig 123 - Fig 124 - Fig 125 - Fig 126 - Fig 127 - Fig 128 - Fig 129 - Fig 130 - Fig 131 - Fig 132 - Fig 134 - Fig 133 - Fig 135 - Fig 136 - Fig 137 - Fig 138 - Fig 139 - Fig 140 - Fig 141 - Fig 142 - Fig 143 - Fig 144 - Fig 145 - Fig 146 - Fig 147 - Fig 148 - Fig 149 - Fig 150 -

Folded Keikoku glass storage Keikoku detail Keikoku final photo [pg 99] Joint detail layout Detail Sections (7-11, 13) Keikoku plan CNC router cut file Leather strips layout Detail Section Detail Section Section Mountain construct study Leaf Dragonfly wing Rivers in Egypt Bubble packing diagram Ori-Tri final photo Ori-Tri folding order 1 - 8 Ori-Tri assembly instructions 1 - 8 Ori-Tri final photo Ori-Tri final photo Ori-Tri final photo Ori-Tri final photo [pg 116] Ori-Tri final photo [pg 118-119] Ori-Tri parasitic composition 01 Ori-Tri parasitic composition 02 Ori-Tri parasitic composition 03 Ori-Tri parasitic composition 04 [pg 120] Ori-Tri final photo [pg 122] Ori-Tri one cluster [pg 123]

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Fig 151 - Fig 153 - Fig 152 - Fig 154 - Fig 155 - Fig 157 - Fig 156 - Fig 158 - Fig 159 - Fig 160 - Fig 161 - Fig 162 - Fig 163 - Fig 164 - Fig 165 - Fig 166 - Fig 167 - Fig 168 - Fig 169 - Fig 170 - Fig 171 - Fig 172 - Fig 173 - Fig 174 - Fig 175 - Fig 176 -

Water-jet steel connection members Pouring concrete Process photo Wood housing members Hex Petal draft 01 component Hex Petal draft 02 component Hex Petal draft 01 unit Hex Petal draft 02 unit Hex Petal draft 02 assembled 96° final unit [pg 130] 96° exploded axonometric 96° plan 96° to 46° elevation Hew Petal grasshopper code Close to open render 96° connection to 46° 96° connection to 46° photo [pg 139] 46° plan 46° final photo 46° final photo [pg 141] 46° to 46° connection detail 46° to 46° final photo [pg 143] Footing connection detail Footing plan Final assembled column [pg 145] Ori-Tri Threshold graphic [pg 144]

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Works Cited Locher, Mira. Zen Gardens: The Complete Works of Shunmyo Masuno, Japan’s Leading Garden Designer. Toyko: Tuttle Pub., 2012. Print.

Aranda, Benjamin, and Chris Lasch. Tooling. New York: Princeton Architectural, 2006. Print.

Benyus, Janine M. Biomimicry: Innovation Inspired by Nature. New York: William Morrow, 1998. Print.

Corser, Robert. Fabricating Architecture: Selected Readings in Digital Design and Manufacturing. New York: Princeton Architectural, 2010. Print.

Burry, Jane, and Mark Burry. The New Mathematics of Architecture. London: Thames & Hudson, 2012. Print.

Menges, Achim. Material Computation: Higher Integration in Morphogenetic Design. Hoboken, NJ: Wiley, 2012. Print.

Pearce, Peter. Structure in Nature Is a Strategy for Design. Cambridge: MIT, 1980.

Print.

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[As designers] we go through a scientific process of exploration through which we analyze, research, and investigate out designs with the ultimate goal to create more than just a building; we want to create an experience. Ultimately, the goal is to make the final experience one that will not only stand the test of time, but will also be environmentally responsible. - Louis Kahn

to be continued