B.A. (ARCH) DESIGN 1: SEEING, THINKING, MAKING (2021/2022)

YEAR 1 DESIGN 1 2021/2022 BA (Arch) Design 1

Seeing Thinking Making (Photo by: Mok Ze Chun)

DESIGN 1: Seeing, Thinking, Making Any form of architectural representation is a three‐fold process.

First: it is important to have a thorough understanding of the nature of the content that is to be communicated. This encompasses a grasp of the subject’s strengths, value and underlying operating principles; the time and place in the cultural, social, geographical spheres in which this subject is situated; and its underpinnings in broader architectural thoughts, beliefs and discourse.

To this end, seeing is an exercise in observing, deciphering and re‐assessing information into an individual cognitive understanding. Going beyond mere looking— or casting one’s eye upon an object—seeing is the perception of a subject within a thought framework.

Second, strategizing and formulating a conceptual vehicle that conveys this original assessment —its representation—, is a rigorous design thinking process that combines a critical summation of the salient points of the subject matter with individual observation, into a new syntax that encapsulates even more, the finer subtleties.

Lastly, making is the ability to formalise a largely intangible cognitive thought process of seeing and thinking, into a tangible mode of communication to others, conveying one’s insights in the most succinct, effective way possible; inviting critique, input and ultimately, use.

The best outcomes are those that result from an incisive seeing and thinking through of

resource material, and from the making of an original architectural representation that is able to contribute to new dialogues on how subject is now seen and thought of. This iterative process of perception and representation is then able to come full circle, producing new interpretations and informing us of new ways to see and think.

Design 1 is about imparting ways of seeing, thinking and making to students through graphical and formal vocabularies and to introduce a variety of ideas on approaching design, expression and representation.

Written by Adj. Assistant Prof. Wu Yen Yen, Design 1 Year Leader

2021/2022 B.A.(ARCH) DESIGN 1

Unit 1: Wu Yen Yen (Design 1 Year Leader, Unit 1 Leader) Adjunct Assistant Professor, M.Arch (Columbia GSAPP), BA.Arch Studies (NUS), Green Mark AP, MSIA, Registered Architect Singapore

Yang Han M.Arch, BA.Arch Studies, (NUS), Registered Architect Singapore

Ng William M.Arch, BA.Arch Studies (NUS,) MSIA, Registered Architect Singapore

Shaumyika Sharma M.Sc AAD (Columbia University), B.Arch (UWA), RIBA, RAIA, Registered Architect UK

Ye Gang Hua Teaching Assistant

Unit 2: Yong Sy Lyng (Unit Leader) B.Arch (Cooper Union), BA.Arch (NUS), Registered Architect Singapore

Ng San Son M.Arch, BA.Arch Studies (NUS), MSIA, Registered Architect Singapore

Fiona Tan M.Arch (UCL), BA.Architecture (NUS), Green Mark AP, MSIA, Registered Architect Singapore

Matthew Goh Xin Zhi Teaching Assistant

Unit 3: Liang Lit How (Unit Leader) B.Arch, BA.Arch Studies (NUS)

Elaine Lee M.Arch, BA.Arch Studies (NUS)

Albert Liang M.Arch, BA.Architecture (NUS)

Yen Tzu Yao Teaching Assistant

Learning Objectives 1.

2.

3.

In Year 1 Semester 1, ways of representing ideas of architectural design will be studied within the context of prevalent design principles of that time. Through this framework, students will learn to read and understand that architecture of different times embody different ideologies and the synergistic process of thought, method and outcome, has spawned divergent directions in architecture that were not merely aesthetic but ideologies of world views communicated through built form. AR1101 is not a History, Theory or drawing class so the key is in the imparting of method and process.

Students will be simultaneously introduced to a variety of representation techniques as well as ways to think about, feel and read architecture through model making, exploring different materials, site visits and studio wide pin ups, encouraging reflection on experience and discourse.

We will draw fundamental parallels between analog and digital means of seeing, thinking and making drawings, models. AR1101 is not a software program class although various design software will be introduced. The key objective of this is the understanding of contemporary ways of perception through digital means, introducing an understanding of the ethos behind digital architectural interface today.

Evaluation Criteria Students shall be assessed according to: • • • • • •

Ability to absorb lessons and demonstrate basic technical skills of drawing Demonstrate rigour and diligence, experimentation and expending effort on improving drawing standards Demonstrate critical thinking in approaching, understanding, seeing and thinking about subject topics conceptually Sensitivity to aesthetics and visual delight Ability to think creatively, building upon lessons, to innovate.

Effective communication of ideas

VISUALISING WEATHER : IOTA

by Glen Ang The 2020 Atlantic Hurricane Season was the most active and fifth costliest season on record. Hurricane IOTA was the strongest and last storm of the season which lasted from November 13 to 19. It was a late-season category 4 hurricane that caused total damages of up to $1.4 billion and have affected the lives of 4.1 million people.

The project makes use of a multitude of weather data such as wind speed, wind path and, temperature when the hurricane was active. These data were then translated to a 2 dimensional visual code and subsequently manifested in a 3 dimensional form. Actions were translated from the 2D code and applied onto different materials both analogue and digitally to investigate the reponse of different materials and the possible forms that can ensue.

The creation of these models bring about the question of the functionality and purposes of the amorphous and organic shapes. In today’s world we are very much governed by our anthropometry. Spaces are designed to follow the functions we need, but is it possible to have function follow form. What would the world look like when we redefine the spaces that we are all so familiar with?

Studio Liang Lit How

MEN’S OLYMPIC VOLLEYBALL

by JAMIE FOO SI SHING This exercise was an analysis of an olympic volleyball game, where the idea of discrete and continuous entities, and the line between them and how to blur it, were explored. With the idea of cause and effect, a system exists not just within the team but also between both teams where the actions of one team affect the other. Here, the continuous game of a volleyball set is now broken up and discretised.

The continuous nature of the game is challenged when observed at a higher resolution, where it can be seen that the game is in fact an aggregation of discrete points, which make up a “continuous set” of data. Breaking that down even further, a third dimension can be seen where each discrete point is made up of continuous plays (whereby the movement of the ball is a continuous path), thus highlighting that a single process does not exist solely as a continuous, or discrete data set.

Studio WU YEN YEN

3 layers of information are embedded in the drawing, alternating between continuous and discrete variables. Starting with continuous plays, to discrete points, and finally to a continuous game.

The next exercise, exercise 3, was a deeper dive into the idea of modularity, where one point was analysed, and the legend from Exercise 2 was now modularised into a single unit, and the variation of its orientation, height and width would represent different parameters.

The use of a single unit allowed me to explore the idea of a metabolist plug and play concept, where the alteration of one unit can change the outcome of the play, but the parameters and system are retained and still understood

regardless. The use of plaster not only acts as a connector which turns the individual movements into a continuous play, but also allows the components to existentially coexist, but be discrete.

The focus on modularity in the model resulted in the inability to capture the unpredictable and uncertain nature of the volleyball game, which I hoped to bring back in the drawing.

By adding a new parameter of sound, I was able to bring back the element of flux and change into the exercise.

Annotations

s & Captions

Reference Point

Model Legend

A 2D VISUALISATION OF TIME IN INTERSTELLAR

by TOMMY LEE TENG LONG The project attempted to derive a visual representation of the audiovisual and thematic elements of the film Interstellar onto a 2D medium.

To effectively extract audio elements, dialogue, music and sound effects in the film were categorised and analysed for intensity and duration. A similar process was undertaken to analyse different visual elements, which was ultimately merged to form the inner circle of the schematic.

The thematic elements were then combined with the audiovisual information to form the outer circle within the schematic, taking into consideration various plotpoints within the film.

This was then complemented with a background that depicted the quotient of the two inner layers, adding depth to the final schematic.

Studio YANGHAN

Building upon the first half of the project, this second half of the project aimed to transform the afore-collected two-dimensional data into a three dimensional form.

Informed by various artistic choices within the film, the three-dimensional form positioned four elements of the film in a linear storyline, visually presenting the ebbs and flows of the story as experienced by both the audience and the characters.

Drawing and an

nnotations of model

Closeup of model

The various recessions and patterns seen on the model relate to fluctuations in the storyline, such as changes in visual intensity to differences in time dilation. Certain parts of the model are connected, signifying causal relationships of not only the storyline, but also of characters, themes and emotions.

Closeup of model

Model moulded using of ceramic plaster

WHAT IS A WELL-COMPOSED SONG?

by ZIKRY NASRULLAH The exercise allowed me to appreciate music through an analytical approach by dissecting the score and deriving a set of 2-dimensional code. This code was then transposed onto two materials to discover how its responsiveness would influence its 3-dimensional form. Just like the Phillips Pavilion by Iannis Xenakis and Le Corbusier, I was able to appreciate the rigour when translating a metaphysical set of data like music into a 3-dimensional form, in an attempt to synthesise both music and architecture.

Studio ELAINE LEE

The ‘Dance of Iscariot’ by Kirt N. Mosier piqued my interest for its complex sound yet basic composition. Inspired by Iannis Xenakis and Le Corbusier, who used the song Metastasis to form the Phillips Pavilion, I mapped the notes played to the range of notes possibly played by string instruments.

I discovered how the same melody was played by all insruments but at staggered times and at varying octaves.

With the individual mapping, I was able to derive a resultant drawing which visualises the entire song as 2-dimensional lines.

Visualising the Metaphysical (Top to Bottom): First Violin, Second Violin, Viola and Cello

Resultant Drawing: ‘Dance of Iscariot’ as Lines

Instruments Instruments : First Violin : First Violin

: Second Violin : Second Violin

: Viola

: Cello

: Viola

: Cello

Coded Permutations Coded Permutations : Cello & First Violin : Cello & First Violin

: Cello Dominant Notes : Cello Dominant Notes

: First Violin Dominant Notes : First Violin Dominant Notes

Translation of Resultant Drawing into a Coded Language

To add another layer of complexity to this analysis, I broke the initial drawing into a grid, which I gave a coded language. This exploration highlighted how a well-composed song like Dance of Iscariot covers a wide range of notes that ultimately come together in harmony. The same set of code was then transposed onto two mediums of varying responsiveness: plaster and fabric, which intrigued me as the same code could present two different models. I wanted to draw on this idea of ‘having multiple instruments come together in harmony’ through my models.

Translating Code into 3-Dimensional Forms The same set of code used to reintepret Dance of Iscariot was then transposed onto two mediums of varying responsiveness: plaster and fabric, which intrigued me as the same code was presented as two different types of models.

I wanted to draw on this idea of ‘having multiple instruments come together in harmony’ through 2 models: Plaster and Fabric.

Hand Rendering of Plaster and Fabric Models

Plaster Model My plaster model presents each instrument as a rectangular block with grooves of a unique size, to differentiate each instrument.

The model embodies the concept of all four instruments coming together and fitting with one another. Plaster seems to be set after casting but its responsiveness actually comes from these casted shapes. For this, the segments are able to slide within the grooves as casted which would vary the resultant silhouette of the model.

Plaster Model: Blocks with grooves of varying sizes

Fabric Model The instruments were presented as strips and pleats were used to denote each line in the code. The first violin, known for playing the melodies in string ensembles, was pleated in a unique way. These strips were positioned as seen in the code and the overlapping area was lifted. This allowed the fabric to respond by draping over one another. Unlike plaster, where the models are set after casting, I discovered that fabric added another layer of complexity through its responsiveness as draping it pushed its unique 3-dimensional form even further.

Fabric Model: Suspended to demonstrate draping effect

Hotel California: CHAOS

by ZHANG XUANQI (JACK) Listening to music within a high-fidelity stereo system is a wonderful experience. The main focus of this experiment is to manipulate elements of the sound and music, the sound field, and the time length of sound in a series of fixed periods into a visual mapping. By dividing the sound field of my stereo system into six sections as well as by collecting each type of sound respectively, it is easier to distinguish and to find the flow, density, especially the vector of each individual sound within its sound field.

To fulfil this imagination of Hotel California, tracing, weaving, and flocking behaviours are generated via grasshopper based on the interaction of each sound element to form the results.

By defining the sound field as a geographical map, Dash lines, solid lines, and dotted lines are used to present the mixture, length, and sound field of music, which will eventually form the flow, vector, and density of the overall mapping experiment of music - Hotel California, where demonstrates the visual chaos created by each element of the music.

Studio SHAUMYIKA SHARMA

Process Diagram 1

Process Diagram 2

Final Visualization

Transforming from chaos to ration based on the former infogram, I started to think in three-dimension and turned it into a ‘music cube’, following a triangular column enclosed by three main types of sound in Hotel California.

By manipulating the types of sound on the corner of their relative elements as well as the angle of rotation between each minute’s block, which extend the corner for each element and rotation for each minute, creating more dynamic for this ‘music sculpture’. Gold and silver are materials used to make a good quality hi-fi wire, therefore, gold and silver leaf had been added on to the sculpture not only to distinguish the elements but also to simulate the vivid and beautiful experience while listening to hi-fi music.

The chaos of the two-dimensional diagram and the ration of the three-dimensional sculpture form the contrast and make me muse on how significant the change can be when one tries to think from another perspective.

(Left: Final Model)

Making Process

Process Diagram

ORDER AND CHAOS

by MOK ZE CHUN Chaos is merely order waiting to be deciphered.

Part I: Order in Chaos By translating music into a visual composition, the inaudible becomes visible. “Mapping the Cycle of Pain” visualizes the seemingly chaotic nature of the metal song “Duality”

by Slipknot. However, by analyzing and rearranging the cadences, it is revealed that the song follows a rigid and ordered composition.

Part II: Chaos in Order In mathematics, the Chaos Theory is the study of apparently random and unpredictable behaviors governed by deterministic laws. Simply put, chaos is created by order. To simulate this, variations of the cadences are subjected to the same iterative transformations and compared. The result is a complex form born out of a fixed set of rules.

Studio NG SAN SON

coding music

depression

frustration

anger

mapping the cycle of pain

insanity

order in

n chaos

CONSTANT | TIME To simulate the chaos theory, two similar sections from the code are placed on the same foundation and subjected to simple iterative transformations. instruction

HIERARCHY | MELODY Vertical displacements determined by the hierarchy of instrumental melodies. Simplified by observing if the lead guitar is playing the main melody. oscillation

SIMILARITY | PATTERN Horizontal rotations determined by the presence of similar rhythms and note changes between instruments.

rotation

32

24

16

chaos in order

8

SYSTEMS

by SANYA DIXIT This project consists of teo seperate segments with a similar aim: creating a system & extracting variations.

My work for the first exercise is titled “The Revolution”. The form created depicted the revolution of stars about the earth, represented as a central point. Variable data was collected based on positions & properties of 16 different stars, eventually translated into a grasshopper script, creating links between variables. This was the creation of an interdependent system.

The system was then used to extract various versions of the same form systematically, by varying selected variables.

This idea was carried forward to the second exercise titled “Passage”. The system was now a physical model, playing with dynamic forces, created by soil passing through circular filters. The radius of the cardbord filters were determined by star radius data. This project carried the overarching aim of studying the movement of soil - done by observing resultant forms when rotating filters (rotation was also determined from data in exercise 1), accumulation of soil on filters, flow of soil through filters and bounce of soil grains on filters.

Studio Yong Sy Lyng

THE REVOLUTION: DATA STAR

COORDINATE 1 (VERTICAL DISPLACEMENT DIRECTION)

COORDINATE 2 DISTANCE FROM (PLANAR EARTH ROTATION) (EARTH AS CENTRE POINT OF SPHERE)

MAGNITUDE, APPARENT BRIGHTNESS (THICKNESS OF PIPES AND VERTICAL DISPLACEMENT)

RADIUS (RADIUS OF SPHERE SURROUNDING STAR POINT)

SURFACE GRAVITY (NUMBER OF SPHERES SURROUNDING STAR POINT)

Sun

S 7°

13h 11 m

0.0000158

26.74

1

3

Alpha centauri

S 62°

14h 39m

4.3650

0.0

1.2234

4.30

Gliese 105

S 16°

2h 30m

23.42

5.82

0.650

4.40

Epsilon indi

S 56°

22h 3m

11.869

4.69

0.711

4.63

Ross 128

0°

11h 47m

11.0074

11.13

0.196

3.40

Procyon

N 5°

7h 38m

11.46

0.41

0.012

8.0

Groombridge 34 N 44°

0h 18m

11.6191

8.09

0.38

4.87

AD LEONIS

N 9°

10h 19m

16.0

4.63

0.39

4.79

Kruger 60

S 45°

22h 27m

12.75

9.59

0.291

4.96

61 Cygni

N 38°

21h 6m

11.404

5.20

0.666

4.40

Tau Ceti

S 15°

1h 44m

11.9

3.49

0.793

4.4

Epsilon eridani

S 9°

3h 32m

10.475

3.73

0.735

4.30

Gliese 687

N 68°

17h 36m

14.77

9.15

0.492

0.401

Lacaille 9352

S 35°

23h 5m

10.7241

7.35

0.470

4.78

UGPS J072227.5

S 5°

7h 30m

13.4

22.0

0.886

4.90

Van Mannen’s star

N 5°

1h 0m

14.074

12.37

0.0138

8.16

Original, wireframe Original, wireframe

The Revolution, original wireframe

The Revolution, Data

Original, Original,rendered rendered

The Revolution, original rendered

THE REVOLUTION Original

15 degree displacement

MAGNITUDE

75 degree displacement

45 degree displacement, change in thickness of pipe

Radius domain 0.01-0.2

Radius domain 0.01-1.6

SURFACE RADIUS

Radius domain 0.01-3.2

Radius domain 0.01-4.8

No planar rotation

PLANAR ROTATION

Planar Rotation by 6h

North displacement

30 degree displacement

South displacement

45 degree displacement

90 degree displacement

15 degree displacement, change in thickness of pipe

60 degree displacement, change in thickness of pipe

75 degree displacement, change in thickness of pipe

Radius domain 0.01-0.4

Radius domain 0.01-2.0

Radius domain 0.01-3.6

Radius domain 0.01-5.2

Planar Rotation by 1.5h clockwise

Planar Rotation by 1.5h anti-clockwise

Radius domain 0.01-0.8

Radius domain 0.01-2.4

Radius domain 0.01-4.0

Radius domain 0.01-5.6

Planar Rotation by 3h clockwise

Planar Rotation by 3h anti-clockwise

The Revolution, Iterations with changing variables

Equator, 0 degrees

60 degree displacement

30 degree displacement, change in thickness of pipe

90 degree displacement, change in thickness of pipe

Radius domain 0.01-1.2

Radius domain 0.01-2.8

Radius domain 0.01-4.4

Radius domain 0.01-6

Planar Rotation by 4.5h clockwise

Planar Rotation by 4.5h anti-clockwise

FLOW SERIES 1mm grain size

5mm grain size

10mm grain size

no gap

gap equal to average size of grain

gap larger than average size of grain

ROTATION SERIES 2h rotation

4h rotation

6h rotation

8h rotation

10h rotation

12h rotation

Passage, Physical models & iterations

BOUNCE SERIES 1mm grain size

0° contact point

45° contact point

90° contact point

no contact point

5mm grain size

10mm grain size

ACCUMULATION SERIES 1mm grain size

5mm grain size

7mm radius

13mm radius

19mm radius

Passage, Physical models & iterations

10mm grain size

Visualise The Invisibles

by Wang Tianyun “Computational design brings a set of process driven and design strategies as complexities made possible by design capabilities evolved. As architecture shifts to value perfomative, iterative functions and less religious and philosophical idealogies, the premise for generative and evaluating architecture has correspondingly changed - focusing more on quantitative data. By understanding computer-aided design and digital fabrication as a tool, the translation of thought to form originates from the mind of the architect.

This semester culminated in Computational Design Thinking and Generative Design through the last two exercises. In Exercise 2, visual codings were developed to understand data mapping and notational systems. In Exercise 3, continuous and discrete physical models were constructed to explore parametric spaces and forms. Via logical abstration, informative parameters of existing infograms were represented in another language syntax, and further took shape under the effect of code-relative actions. In a sense, an alternative pathway was created to visualise the otherwise invisible qualities.

Studio William Ng

Annotations & Captions

It is already fact and necessity that more and more, architects receive, analyse, strategise different sets of parameters and information that are expected to feedback and inform architecture design. The objective of Exercise 2 is to introduce and use found information systems and the the methods of how they can represented through algorithmic, methodical, systematic translation into another syntax of form and space.

Annotations & Captions

Given the task to code a found 2D inforgram with at least four sets of data to describe an

Annotations & Captions

intensive processes of flux and turbulence, I was intrigued by the rupture process of the 2011 Tohoku-Oki Earthquake and was particularly interested in the cause and effect relationships between the land slip direction and aftershock happening regions.

A strong and sophisticated legend would capture the intrinsic value and the entirety of four sets of information in a single black and white drawing. With the appreciation using consistent simple geometries, I chose the family of rectangles as its flexibility to be stretched

to parallelogram would best represent the movements of planes.

The resultant visual coding is explicit and vivid in demonstrating how the land slipped from a regular grid to the right in an overwhelming trend. The legend is also simplifies with the variable speed inferred from two other variables namely land slip happening time and total distance. The development of event can also be understood from the layers of concentric squares spreading out from the epicentre.

3D Scan of Vinyl-Sheet Model and Sectional Cuts

Land Slip from 0-40 seconds

Pinching in the distance and direction of land slip

Land slip from 40-80 seconds

Bumps formed as pinching converged to the right

Land slip from 80-120 seconds

Form continued to change as slip developed

Land slip from 120-160 seconds

Final form corresponded to aftershock locations

In Exercise 3, “family of codes” were further translated to “field of actions” to feed all information to a chosen responsive material.

In our studio, vinyl sheet was chosen as the force exerted at one point of sheet could ripple to affect neighbour points, better reflecting the quality of turbulence.

Pinching with varied lengths and depths in different directions was adopted to deform the responsive material, and each pinch was sewed to secure the form. The resultant model was a continuous parametric form.

Annotations & Captions

This project concluded with a highlight of applying model-making concepts of real-life architectures. The unit construction concept that our studio specially introduced was a step forward in understanding parametric spaces with respect to scale. With an in-depth exploration of tectonics and stereotomics, we appreciated the power of simple basic unit geometric each fuctioning like bricks in building complex architectural forms.

In my iterations, I experimented supporting and supported structures.

Three iterations of unit construction method

The concept of unit construction often appears in the design of buiding skins. By playing with scale, we can also understand city plans, public installations and even furniture from the perspective of unit blocks.

Two locations with the

e largest aftershocks

AMORPHIC SPACES

by LAI KIT Amorphic Spaces explores the complex phenomenon of starling murmurations through the lens of three distinct parameters, with the process eventually culminating in an abstract entity — one that is generated from an algorithmic translation of these inputs.

The final product serves as a visual commentary on a murmuration’s unique form, where the movement patterns of a hypothetical flock are abstracted and recreated as it moves through space and time. The entity exhibits a nature that is complex and amorphous — one that is constantly in flux without clear definition, a key characteristic that is uncanningly similar to that of its parent.

Studio FIONA TAN

Constant movement of individual starlings generate unique forms

Signalling from neighbours dictate flight in all 6 directions/ 3 dimensions.

Each starling takes reference to 7 neighbouring starlings at any point of time. Leader-follower relations are constantly being interchanged throughout the flock.

Spatial interactions between flock members constantly occur as they move through 3D space.

Respective positions & movements Projections are superimposed of starlings are deconstructed and onto a singular plane. projected onto individual planes.

Singular Plane functions as an abstract map of spatial interactions.

Abstract map is translated into ‘Machine Language’ as black & white pixels. Starting cell grid is formed.

Deconstruction of movement patterns

Each successive generation is obtained by applying the ruleset to the former

Plan View: Full running sequence of a 8x8 cell grid

1 Unit of space

Occupied by 1 starling

Starling murmurations occur when 300,000 or more individual birds fly through the sky as a singular entity, forming picturesque shapes in the sky as they go by. This choreographic movement is manifested from simple movement patterns at the individual level, which are governed by three distinct parameters — separation, cohesion and alignment.

In order to capture these movement patterns, these parameters were condensed into a

Abstraction of swarm behaviour onto 8x8 grid algorithm

Cellular Automata

Over several generations, the cells self-organise, creating chaotic compositions with recursive visuals

A discrete model for complex processes that stems from a cell grid, each cell is assigned a specific condition and the automaton is ran in successive steps, based on a set of pre-decided ‘rules’. Over the course of several generations, the cells start to self-organise, tending to recursive patterns.

10th generation Parameters Separation

Cohesion

Alignment

Ruleset 1 30th generation

Each cell takes reference to any 7 neighbours.

2

Separation

Any occupied cell with 3, 4 or 5 neighbours stay occupied.

3

Cohesion Next sequence

55th generation

Plan View: Final generation of a 150x150 cell grid

Any empty cell with 4 neighbours becomes occupied.

1 Unit of space

Occupied by 1 starling

Cellular Automata algorithm

simple ruleset that could be intepreted by a Cellular Automata algorithm. A predictive sequence was constructed as a result, where pixelised ‘cell grids’ rearrange themselves by applying the prefixed ruleset onto its predecessor. With each generation composed by an array of black and white pixels, where a black represents a starling and a white represents unoccupied space, the sequence of grids are arranged in sequential order where an abstract form is patched and generated.

The final product serves as a visual commentary

on a murmuration’s unique form, where the movement patterns of a hypothetical flock are abstracted and recreated as it moves through space and time. The entity exhibits a nature that is complex and amorphous — one that is constantly in flux without clear definition, a key characteristic that is uncanningly similar to that of its parent.

Generation of abstract form by running sequence

8x8 cell grid

8x8 cell grid

Contour lines generated at high tolerance level

Contour lines generated at low tolerance level

Resultant abstract form is generated

Resultant abstract form is generated

Final abstact form

Final abstract form

The abstract form is translated into reality, with this physical model retaining the key structural quality of fluid contours. constraints in which the form can flow within.

Front View of model

The automata cell grids manifest as stiff wire grids, continuing to fulfill its purpose of setting the spatial constraints in which the form can flow within.

Elevation view of model

A binary relationship is seen, with the rigid negative spaces juxtaposing with the fluid nature of the abstract form.

Perspective view of model

Each cell grid denotes the spatial boundaries in which the form can warp within, for a frame in time. Different tolerance levels — how tightly curves must fit to boundaries, result in varying structural complexities. The abstract form is hence amorphous, with no strict form.

Cell grids serve as spatial boundaries

With each cell grid allegorising a frame in time, the continual transposition of the abstract form with each frame alludes to the shapeshifting properties of a starling murmuration as it traverses through space.

This intrinstic connection between the final product and original phenomenon of study ties the body of work together.

Abstract form as a visual allegory

SEMIRHYMIDE

by Zhang Lewen “Although Gioacchino Rossini (1792-1868) composed almost 40 operas, the number of years involved in that formidable production was only about 20. Amazingly, in the 39 years that remained to him after he completed his last opera William Tell in 1829, he never created another work for the stage. The last opera Rossini wrote in Italy before leaving in 1824 to win fame and fortune in Paris was Semiramide.

His addio to the Italian stage was a lurid one: The story (libretto by Gaetano Rossi adapted from Voltaire’s novel) tells of Queen Semiramis, who, taking the throne of Assyria and Babylonia (800 B.C.) by killing her husband, falls in love with a young man she doesn’t know is her son, and then is killed by her lover.

Although it contains material from the sordid opera, the bright Overture hardly suggests the blood and gore of the action that is played out on the stage when the curtain goes up.” - cited from ‘Semiramide Overture,’ 2021 Los Angeles Philharmonic Association.

In the project Semirhymide - named after ‘Semiramide’ and ‘rhythm’, the overture is examined with the use of a range of devices such as volume, emotion, tempo, pitch and instruments.

By mapping these data using different patterns and notations in coordinate systems, different visual representation of the piece are developed. These representations include 2D graphic and 3D models, which reveal the interconnectedness between devices and the visual effect of the symphony as consequence.

Studio Albert Liang

Codes extracted from the overture

Development and Process

Iterations before final model