Arabesque Wall is a massive 3D printed wall with ornamental details at the scale of millimeters. It plays with the aniconic, geometric tradition of arabesque ornaments by creating intricate constellations that are at once figurative and abstract.
Just as with arabesque ornaments, the compositional principles of the Arabesque Wall are based on an iterative tiling and division of surfaces.
Where does nature end and the artifical begin?
As visitors wanders through the lush nautre of Inhotim. they face an unexpected encounter: a marble monolith, several meters high, firmly planted amidst the flora. Something is amiss. The monolith appears neither to be part of the environment, nor to be detached from it. Natural metamorphosis is reversed to a produce an uncanny artefact: a second nature.
Märchenwald (2014) Venice Biennale 2016 - German Pavilion Competition
In the pavilion a forest arises - a romantic landscape - composed of freely moving columns, grouped into ephemeral configurations of an ornamental wilderness. Freed from historical models, a space opens that disorients the visitors through a new sensory experience.
Between chaos and order, both natural and artificial, neither foreign nor familiar. Digital Grotesque presents an immersive, human-scale, highly articulated grotto that is entirely fabricated using 3D printing.
Fine-grained corns of sand printed at a resolution of 0.13mm allow the creation of a yet unseen architecture. The 16 square meter room is composed uniquely through algorithms.
This project involves the conception and design of a new column order based on subdivision processes. It explores how subdivision can define and embellish this column order with an elaborate system of ornament.
The first 2.7-meter prototype is constructed as a layered model of 1mm cardboard sheet. Further columns of milled 1mm ABS plastic layers were exhibited at the 2011 Gwangju Design Biennale.
How can a purely operations-based geometric process can generate complex form? This project begins with the most primitive forms, the platonic solids, and repeatedly employs a single operation – the division of a form’s faces into smaller faces – until forms of an astounding complexity are produced.
Initial studies of subdivision processes applied to generate architectural pavilions. Each of the pavilions is based on two interlinked cubic frames and is produced through a single, constant process. Only the process parameters are allowed to vary.
This project continues the exploration of a procedural approach to generating architectural form. Rather than work with surfaces as in the subdivision experiments, this project uses volumetric cells - voxels - as its basic geometry. Two broad algorithms to control the interaction between voxels are explored: cellular automata similar to the game of life, and reaction-diffusion processes.
In the late 1960's, the biologist Aristid Lindenmayer proposed a string-rewriting algorithm that can model the morphology of simplified plants and other organisms with an astounding ease. This theory is now known as L-Systems. This project considers how this algorithm can open up possibilities in the field of architecture.