The inaugural project of UCLA’s MArchI program explores the development of generative systems though tectonic assemblies of modular components. Paramount to this process is a differentiation between top-down and bottom up systems. More specifically, emergent formal typologies result from the physical properties of the module and connection variants as opposed to a ‘master plan’ envisioning the result.
Tactically, systems may be considered either derivative or generative. In each case, a set of rules renders a specific formal grammar or syntax. Derivative systems in architecture are often used to subdivide complex geometries into developable units. Surfaces may be panelized. Volumes may be divided into cellular components. In many cases, this process of subdivision creates a type of ornament, articulating texture, structure, and scale. Generative systems aggregate units into novel compositions based on fixed relationships. The formal result may respond to inputs, but it will display behavioral variation. Processes of branching, cellular automata, and others allow for highly differentiated outcomes.
This project is generative. It is a study of potentiality. This is necessitated by syntax: produce a unit, study its limits, develop a formal grammar, and produce a desirable outcome. Ambiguity arises in the final step(produce a desirable outcome) due to an analog means of execution. In theory, a complete set of rules would allow for the computational generation of an infinite number of solutions. Subjectivity is introduced by the choice of a particular iteration. In this case, subjectivity is injected prior to determining an outcome. As such, rules are deployed loosely to produce a desirable outcome - grammar is reverse-engineered. This promotes visual composition while somewhat subverting the nature of generative systems. Conversely, a looser rule-set leads to the emergence of more complex relationships and accommodates anomaly. Pedagogically speaking, it would seem that the exercise is meant to foster a consciousness about formal relationships and to encourage a systematic methodology in future designs.
The core unit in my proposal is a triad with six distinct connection points. Each connection point may accommodate one or two inputs, resulting in 13 unique connection types. Ordered clusters exploit the tectonic qualities of 1/64” Bristol board, recognizing that structural stability results from opposing curvature between at least two units. Primary and secondary cluster types categorize the degree to which a cluster may be joined to other clusters; primary clusters are more readily joined (or offer a greater number of potential connections) than secondary clusters.
Clusters may be joined into higher ordered systems of super-clusters. Super-clusters are the building blocks of the final composition. The transitions and connections between super clusters generate a dynamic network system suggesting direction, formal volumes, and figural bodies. Three initial ordering typologies are discussed below.
TYPOLOGY 001
This composition creates a regular two-dimensional matrix. Structurally, it is extremely stable and could be expanded to large sizes. Variations in curvature and direction may be achieved by physical alterations to the core unit type, i.e. elongation of ‘legs’ or changes in relative leg angles.
TYPOLOGY 002
This composition is regulated by an effort to maintain continuity of curvature between unit clusters. The piece exhibits bilateral symmetry and a sense of completeness or closure by joining loose legs at the periphery. Expansion of the system is limited only by the physical strength of the material. It is unlikely that compositions larger than 18”x18”x18” could be self-supporting.
TYPOLOGY 003
This composition exhibits 3-part radial symmetry in response to the core unit geometry. Variations in unit density produce visual interest and degrees of stability. It is unlikely that the system could expand vertically beyond 18”. Lateral expansion may be infinite. As in Typology 001, a sense of completeness or closure is produced by joining loose legs at the periphery of the composition.
