Computed Stone Simulated Rock

Computed Stone Simulated Rock THESIS PROJECT RESEARCH JORNAL

KAZUAKI KOJIMA

DESIGN ADVISOR

ANNA NEIMARK HISTORY/THEORY ADVISOR

MARCELYN GOW THESIS COORDINATOR

JACKILIN HAH BLOOM G R AD UAT E T H E SIS 202 2 | H T2410 TH E SIS PROJE C T R E SE ARC H | S CI-ARC | SPR I N G 202 2

Computed Stone, Simulated Rock

Contents

Thesis Statement

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Geological discreteness in Architecture

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Material Obeject

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Project

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Credit / Reference

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[Cover]: Concept model for DS1121(Parts) (2021) - Kazuaki Kojima [Left]: Concept model for DS1121(Assembled) (2021) - Kazuaki Kojima

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

Thesis Statement

This thesis explores the aesthetic in binary opposition of the digital and physical world through scrutiny of geological objects and digital fabrication techniques.

Art and architecture have been influenced by the form and figures in nature throughout their history, and stones and rocks are a durable and rigid formal reference as geologically processed figures.

Modernism architecture makes stone and rocks flat and loses their three-dimensionality and complexity due to material standardization.

Stones and rocks were excavated, cut, and sliced into a specific size and uniform shape and installed in the building. Contrasting to this rationalization of geological objects, digitality allows architecture to be expressive in different ways and promote new aesthetic styles.

Discreteness, one of the aesthetic aspects of digitally processed artworks and projects, is the style that actively embraces and exaggerates the states of computationally processed and assembled pieces which are vary in shape and size.1 Discrete objects are formally complex but, at the same time, can be described in the rationalized system and design language. The main interest is in the relationship between the assembled whole and numerous distinct parts.

In the fabrication process, geo-aesthetic value is translated into the digitalized tool path, such as a CNC mill head or 3D printer's extruder.

Geological excavation is simulated by these digital machines to materialize as architectural discreteness.

An assembled whole obtains monolithic and iconic value, similar to the representational role that specific stones and rocks have in the stone garden. Relatively small parts make the whole fuzzy and ephemeral. These distinct parts will emerge as material expressions and architectural tectonics. The question here is how much we should 4

control the entropy of the components in relation to the whole while moving back and force between digital euclidian geometry and physical reality.

1 Neil Leach explains the concept of discrete is a style opposed to the parametricism which celebrates continous smooth forms where as discrete embrace discontinous rectlinear aesthetic in digital expression. Leach, Neil. “There in No Such Thing as a Digital Building A Critique of the Discrete.” Essay. In Discrete: Reappraising the Digital in Architecture, edited by Gilles Retsin. West Sussex, UK: John Wiley & Sons Ltd, 2019.

Thesis Statement |

A life-size physical model will Sobe the final output of this project.

The designed lighting and projection mapping technology engage in showcasing how this digitally processed physical model is interacting with the digital technological environment again.

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fig.1: Natural rock, Arizona CA

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

Geological discreteness in Architecture

6

The abandoned Ice rink in Munster,

certain biosystems function and interact with

Germany, has been converted into an

the environment, also speaks to the theme

exhibition space. The roof of the building

of Anthropocene, which means the era that

opens up to the sky, and the original

human activity make an impact on the natural

concrete floor finish was cracked and

environment.

excavated to reveal layers of earth strata.

This project displays the way that

Provocation |

7

After A life Ahead (2017) - Pierre Hyugue

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

Geological Architecture

Primitive architecture emerged out of nature, and eventually, architecture developed its rational structure and the initegreted with building technology. Stone and brick construction could be understood as rationalizing and homogenizing architectural intervention to the natural object, such as earth, sand, gravels, stones, and rocks. Later, the specific shapes, patterns, and forms of natural objects were integrated into architecture.

Mountain, the geological form, was studied for scientific and aesthetic exploration. The natural geological formulation has been the aspiration for architecture. In the early 20th Century, Bruno Taut theorized alpine architecture, which aestheticized mountain ranges and carved crystalline geometry. Even contemporary architects often employ formal geological vocabulary. Peter Eisenman architects integrate geological foam of the site to the geometric system and digital representation for urban scale project in Santiago, Spain. In Korea, OMA created a geological facade on the commercial complex building. The aesthetic condition of strata inspired the color and pattern of triangulated tiles. The glass-enclosed space in the middle of the building represents crystalline pieces in the slab of rock.

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Geological Architecture |

fig.2

fig.3

fig.4

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fig.2 : Eugène-Emmanuel Viollet-le-Duc, Disintegration of Crystalline Rock, Mont Blanc (1876) fig.3 : Modifications to a vertex fig.4 : Décomposition des rhomboèdres

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

fig.5

fig.6

10 fig.5 : Eisenman Architects, The city of culture(2016) fig.6 :

", section drawing

fig.7 : Bruno Taut, Alpine Architecture(1917) fig.8 :

", conceptual drawing

Geological Architecture |

fig.7

fig.8

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fig.8

There are a few essential aspects of geological objects that architecture can learn. The dynamism of the form is one of the qualities that make stone and rock attractive. Every crack and rough-cut emerge due to geological activity and the inevitable law of physics over a long time. Diversity and contingency of the pattern and figural language is another critical value of the geological aesthetic.

12 fig.8 : John Ruskin, Ruskin’s Collection of Siliceous Minerals (1883) fig.10-12 : OMA, Galleria in Gwanggyo (2020)

Geological Architecture |

fig.10

fig.11

fig.12

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| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

Discrete Digitality

Computational power enables architecture to obtain the ceratin level of complexity and detail as we can handle numerous various parameters by using computer to create instances that vary in size and shape under a certain set of rules.

By examing these works, you can understand that everything in work follows certain rules at the same time; each part retains the discreet quality, which is key factor that natural mineral objects and these computational experimentations have in common.

digital

adjective

- recording or storing information as a series of the numbers 1 and 0, to show that a signal is present or absent: - The numerical sense is because numerals under 10 were counted on fingers. Meaning "using numerical digits" is from 1938, especially of computers which run on data in the form of digits (opposed to analogue) after c. 1945:

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fig.13 : Gilles Retsin, Digital curves (After Greg Lynn), 2016

Discrete Digitality |

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fig.14 : BUILDING BLOCKS / A studio project from Casey Rehm’s AI Assemblies course at SCI-Arc

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fig.15

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fig.16

fig.15 : Thomas Heatherwick, UK pavillion (2010) fig.16 : Sambuich Architects, Rokko-shidare (2010) fig.17 : Diamonds, Gilles Restiin (2016)

Discrete Digitality |

fig.17

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fig.18

fig.18 : Ferda Kolatan, Coral Colum (2017) fig.19 : LINE STOCK, Viola Ago (2014) fig.20 : LINE STOCK, Viola Ago (2014)

Discrete Digitality |

fig. 19

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fig. 20

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Rationality and Ambivalence

Rationality in architecture has been greately represented by Modernism architecture, for example evenly distributed column or mullion grid. Rational construction logic require building material for being homogenized rather than as it is.

Jason Payne explores architectual ambivalence by introducing discrete shingle roofing at Rasberry field project. He also envison strangeness and monolithity with ambiibalent house in Hollywood hill.

Ensamble project explore constructive expression of the stone. They employ natural stone texture as the result of stone cutting technique; stereomity.

On the one hand, stone could consist rough and loose connection that we can see in Iishigami's project. On the other hand, in Kuma's project, regulated stone tiles follows the geometry and configure monolithic massing.

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Rationality and Ambivalence |

fig.21

fig.22

21 fig.21 : Raspberry Fields / Jason Payne (2011) fig.22 : AMBIVALENT HOUSE ​/ Hirsuta(Jason Payne, Michael Zimmerman, Joseph Giampietro, Ryosuke Imaeda (2017)

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fig.23

fig.24

22 fig.23-25 : Musical Studies Centre, ENSAMBLE STUDIO (2002) fig.26 : Kadokawa Museum, Kengo Kuma Architects (2020) fig.27 : Serpentaine Pavilion, Junya Ishigami (2019)

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fig.27

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Material Obeject

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25

Riverbed (2017) - Olafur Eliasson at the Louisiana museum of modern art

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Rocks and Stones as Material Object

In Asian culture, stones and rocks are treated as the auratic object. often developed strong connection with religous view of the world and universe.

In the example of Japanese garden, each rock was selected and carefully arranged into harmonic composition which represents landscape scenary.

The chinese painting separete the rock from its surrounding settings and isolate it as pure object. They found the theatriality in the complex interwoven surfaces and pits. 1

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1

John Hay, Structure and Aesthetic Criteria in Chinese Rocks and Art, Anthropology and

Aesthetics, No.13(Spring. 1987), pp. 5-22.

Object |

27 fig.28 : Stone Garden at Tofuku-ji , Japan

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

rock noun - A large rugged mass of hard mineral material or stone forming a cliff, crag, or other natural feature on land or in the sea: -The solid mineral material forming much of the substance of the earth (or any similar planetary body), whether exposed on the surface or overlain by soil, sand, mud, etc. Also figurative and in figurative context, chiefly alluding to qualities of hardness, durability, or immobility:

stone noun fig.29 : Lan Ying, Red Friend (17c)

- A piece of rock or hard mineral substance (other than metal) of a small or moderate size: - A piece of stone of a definite form and size (usually artificially shaped), used for 28

some special purpose: - A block, slab, or pillar of stone set up as a memorial, to impart information, or for some ceremonial purpose: e.g. as an altar, a monument, a boundary-mark, etc.:

Object |

fig.30

fig.31

fig.32

29 fig.30-32 : Anish Kapoor, Place Under(2016)

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fig.33 : Michael Heizer, Levitated Mass at LACMA(2012)

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Object |

fig.34 :Anish Kapoor, Untitled(1990)

fig.35 : BVN, Concept image for fugitive structure at SCAF (2012)

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Excavation and Stacking

A quarry is the rationalization of nature. In contrast to the original existing natural surface, the inside was excavated by industrial rationality. The uncovered ground is not entirely homogenized as each stone shows a slightly different color tone to another, and dripping dark brown liquid tells that it still behaves as part of nature.

We cut out the stone from nature and stack them to construct artificial objects. We no longer see the stone as the primary choice for the building structure system; just slice them and paste them for cosmetic and ornamental purposes.

quarry

noun

- a large artificial hole in the ground where stone, sand, etc. is dug for use as building material: - [etymology]"open place where rocks are excavated," late 14c., quarrei (mid-13c. as a 32

place name), from Medieval Latin quareia, a dissimilation of quarreria (mid-13c.), literally "place where stones are squared," from Latin quadrare "to make square," :

Excavation and Stacking |

fig.36

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33 fig.36 : Stone wall at Nagoya castel fig.37 : Stone wall at Edo castel

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fig.38

fig.39

34 fig.38 : Edward Burtynsky, The Anthropocene project(2018) fig.39 : " fig.40 : "

Excavation and Stacking |

fig.40

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Plastic is new rock

Recently, new type of rock called plastiglomerate emerged on earth.

According to the Geological Society of America, plastiglomerate is a hybrid rock mixture of melted plastic and other natural material such as rock, stone, sand, or wood. It is often referred to as the indicator of the herald of Anthropocene.

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fig. 41 : Plastiglomerate sample, 2013. All images of plastiglomerate samples courtesy of Kelly Jazvac. All were collected through a collaboration between Jazvac, geologist Patricia Corcoran, and oceanographer Charles Moore. Photograph by Jeff Elstone.

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fig. 42

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38 fig. 42-45 : Plastiglomerate sample, 2013. All images of plastiglomerate samples courtesy of Kelly Jazvac. All were collected through a collaboration between Jazvac, geologist Patricia Corcoran, and oceanographer Charles Moore. Photograph by Jeff Elstone.

fig. 46

LA based start up, ByFusion is making building blocks out of non-recyclable plastic wastes. They combine steam and compresssion to shape plastic to block.

This is new building material but its material expression and aesthetic potential has not explored yet.

fig. 47

39 fig. 46 : By block concept image - Photo courtesy ByFusion fig. 47 : By block close up view - Photo courtesy ByFusion

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Project

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Geological Documentation

fig. 48

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In documentation phase, various of types of rocks and stones were collected from different location in California. The photographs deliniate specific characters and quality of each rock. Then photogrammetry technique covert these rocks to vertices and numbers in vertual digital space to performe formal operation.

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fig. 50

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fig. 52

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fig. 48 : Found rock photo by author fig. 49-52 : Found rocks photo by author

| GRADUATE THESIS 2022 | Computed Stone Simulated Rock

Conversion, Extraction and Abstruction

fig. 53

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In documentation phase, various of types of rocks and stones were collected from different location in California. The photographs deliniate specific characters and quality of each rock. Then photogrammetry technique covert these rocks to vertices and numbers in vertual digital space to performe formal operation.

fig. 54

fig. 55

fig. 53 : Rendered mesh rock fig. 54 : Point colud in photogrammetry process fig. 55 : Textured mesh rock

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fig. 56

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fig. 56: drawing linework on mesh rock object fig. 57: Detail of 3D-printed rock fig. 58: Detail of 3D-printed rock

fig. 57

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fig. 58

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Credit

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fig. 1 fig. 2 fig. 3 fig. 4 fig. 5 fig. 6 fig. 7 fig. 8 fig. 9 fig. 10 fig. 11 fig. 12 fig. 13 fig. 14 fig. 15 fig. 16 fig. 17 fig. 18 fig. 19 fig. 20 fig. 21 fig. 22 fig. 23 fig. 24 fig. 25 fig. 26 fig. 27 fig. 28 fig. 29 fig. 30 fig. 31 fig. 32 fig. 33 fig. 34 fig. 35 fig. 36 fig. 37 fig. 38 fig. 39 fig. 40 fig. 41 fig. 42 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

Concept model, Photograph by Kazuaki Kojima Eugène-Emmanuel Viollet-le-Duc, Disintegration of Crystalline Rock, Mont Blanc (1876) Modifications to a vertex Décomposition des rhomboèdres Eisenman Architects, The city of culture(2016) ", section drawing Bruno Taut, Alpine Architecture(1917) ", conceptual drawing John Ruskin, Ruskin’s Collection of Siliceous Minerals (1883) OMA, Galleria in Gwanggyo (2020) " " Gilles Retsin, Digital curves - After Greg Lynn (2016) BUILDING BLOCKS, studio project from the Casey Rehm’s AI Assemblies course at SCI-Arc Thomas Heatherwick, UK pavillion (2010) Sambuich Architects, Rokko-shidare (2010) Ferda Kolatan, Coral Colum (2017) Ferda Kolatan, Coral Colum (2017) LINE STOCK, Viola Ago (2014) LINE STOCK, Viola Ago (2014) Raspberry Fields / Jason Payne (2011) AMBIVALENT HOUSE ​/ Hirsuta(Jason Payne, Michael Zimmerman, Joseph Giampietro, Ryosuke Imaeda (2017) Musical Studies Centre, ENSAMBLE STUDIO (2002) " " Kadokawa Museum, Kengo Kuma Architects (2020) Serpentaine Pavilion, Junya Ishigami (2019) Stone Garden at Tofuku-ji , Japan Lan Ying, Red Friend (17c) Anish Kapoor, Place Under(2016) " " Michael Heizer, Levitated Mass at LACMA(2012) Anish Kapoor, Untitled(1990) BVN, Concept image for fugitive structure at SCAF (2012) Stone wall at Nagoya castel Stone wall at Edo castel Edward Burtynsky, The Anthropocene project(2018) " " Plastiglomerate sample, 2013. All images of plastiglomerate samples courtesy of Kelly Jazvac. All were collected through a collaboration between Jazvac, geologist Patricia Corcoran, and oceanographer Charles Moore. Photograph by Jeff Elstone. " " " By block concept image - Photo courtesy ByFusion By block close up view - Photo courtesy ByFusion Found rock, Photograph by Kazuaki Kojima " " " " Rendered mesh rock Point colud in photogrammetry process Textured mesh rock Drawing linework on mesh rock object Detail of 3D-printed rock Detail of 3D-printed rock

p.6-7 p.24-25 p.40-41

Pierre Hyugue, After A life Ahead (2017) Olafur Eliasson at the Louisiana museum of modern art, Riverbed (2017) Edward Burtynsky, The Anthropocene project(2018)

Reference 1. Abrons, Ellie. “For Real.” Log, no. 41 (2017): 67–73. http://www.jstor.org/stable/26323719.

2. Carpo. The Second Digital Turn: Design beyond Intelligence. Cambridge: MIT, 2017.

3. Goodhouse, Andrew. When Is the Digital in Architecture? Montréal: Canadian Center for Architecture; Berlín, 2017.

4, Graham, James, and Meredith Miller. “Views From the Plastisphere: A Preface to Post-Rock Architecture.” Essay.

In Climates: Architecture and the Planetary Imaginary. Zurich: Lars Müller, 2016.

5. Harman, Graham. Object-Oriented Ontology: A New Theory of Everything. London: Pelican Books, 2018.

6. Retsin, Gilles, Philippe Morel, Daniel Koehler, Mollie Claypool, Achim Menges, Mario Carpo, Viola Ago, Marrikka Trotter, and Neil Leach. Discrete: Reappraising the Digital in Architecture. West Sussex, UK: John Wiley & Sons Ltd, 2019.

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