Salvador Cortez | Cheng Lu | Avra Tomara | Nikita Troufanov
Instructor: Peter Testa
Robot Lab Coordinator: Jake Newsum
an· i· so· tro· py : the property of being directionally dependent, as opposed to isotropy, which implies identical properties in all directions.
Anisotropic Formations is a proto-architectural exploration of anisotropic aesthetics and structures through vector based 3d printing. Taking inspiration from 3d printed fashion, composite sail manufacturing and experimental application of 6-axis robotics, the project takes the anisotropic approach as both an aesthetic and a fabrication logic. Anisotropic geometry is vector-based and is directionally dependent. Combinations of these vectors result in rich surface and 3d qualities of varied densities, hierarchies and multi-directional layering.
There was an imperative to pursue this design research in a post-digital platform, stepping out from the Euclidean flatness of the computer screen onto the non-Euclidean platform of the physical.Plastic extrusion provided direct access to vector geometry in physical space, enriching it with material agency. Flexibility of the scaffold allowed for multiple configurations and other possibilities. The project was realized through a series of iterations that subjected the design agenda to a series of different machining workspaces and digital-to-physical workflows. From Cartesian workspace of a conventional 3d printer to spherical workspace of multi-axis collaborative robotics and from vector based workflows of 3d modeling to motion based work flows of animation.
Jorge Yazpik is a sculptor known for his work in perforated rocks, having strong and heavy pieces manipulated to create space inside. Using paper as the main strategy, the get-away house maintains the characteristic heavyness that Yazpik pieces do, but at the same time a light structure perfect for inhabiting.
Teleton Foundation is an important philanthropic society created to help kids with physical implications.
The building has the obligation to perform according to al accessibility standards, in this case we decided to re-think possibilities and proposed a building designed for handicap kids and adapted for anybody else.
It works as a loop twisted on itself allowing to rise up to 3 levels without needing a single step, this way the kids can get to the top by their own means even on a wheelchair.
The program is organized in such a way that it follows the rehabilitation process of a kid.
Surface to volume morphologies are presented in a so called Dragon-Skull diagram, by this means the concept for this project is to explore the way different geometries (Dodecahedron+Cube) come together and create a fluid yet differentiated geometry with specific spatial qualities. At the same time a cellular-like pattern, based on the ones seen in dendrobates, creates articulation between the parts while emphasizing their very different spatial and programmatic qualities.
As a Dendrobate the Project aims to match articulation, geometry and performance within the same organism.
On the other hand, using the same program that Renzo Piano set for his own extension to the LACMA museum, the project turns around the performance of the building by giving the amenities a special and attractive place in the site and at the same time creating a public plaza under the building holding the main exhibition.
Sun and environmental issues are solved by the use of the same geometry making the amenities turn into shades for the building and the public space.
Salvador Cortez | Peter Vikar | Pablo Osorio | Francisco Moure
Instructor: Andrew Atwood
Experimentations on the levels of accidentality with 6 axis robots doing feltpen graphics. The gradient value of the image translates to rotation values(6th joint) of a flat nose pen. Image ‘resolution’ 33 by 33 pixel.