Matthew martensen portfolio 2014

M a t t h e w _ M a r t e n s e nR e s e a r c h & D e s i g n

P o r t f o l i o 2 0 1 4

C O N T E N T S

Resume

Ara[x]nes 2013 UCL, The Bartlett

Vertical_Belay 2013 UCL, The Bartlett

Materialized_Webbing 2012-2013 UCL, The Bartlett

Celestial_Evolvement 2013 Individual Research

Fluid_Agent_Interjection 2012-2013 The NewSchool of Architecture

Modulated_Space 2010 The NewSchool of Architecture

Auraria_Light_Library 2010 University of Colorado Denver

Synthetic_Aqua_Ecology 2013 Individual Research

Controlled_Plasticity 2010 University of Colorado Denver

Gyro_Surface 2012-2013 UCL, The Bartlett

4 / 5

6 / 25

26 / 43

44 / 49

50 / 59

60 / 77

78 / 83

84 / 87

88 / 93

94 / 95

96 / 99

Matthew is an designer and fabricator who recently completed his academic architectural education were he completed two consecutive masters of architecture and design programs. He received his first masters degree from The New School of Architecture in San Diego in 2012 where he received honors for both his academic achievements and his final thesis design. Most recently he graduated from the University College of London’s school of archi-tecture, The Bartlett, in September of 2013. During his year at The Bartlett he researched the design and application of new plausibil ities in the fields of architecture and fabrication. It is through this research that Matthew has continued his investigation into the areas of contemporary architectural design through the use of both traditional architectural appli-cations as well as contemporary design methodologies. With a focus on the contemporary framework of heterogeneous languages and fabrication systems he continues to explore new methods of computation and material research through the investigation of Bespoken systems. He focused on the development of DIY alternatives which allowed for an easily fabricated system using conventional materials in an unconventional fabrication method. Matthew is looking to continue his career in architecture and design within a well structured working environment where he can further develop his talent and util ize his abil ities. He would excel in an architectural atmosphere that investigates design not only through the traditional lens but also examines the potentiality of new formal and spacial consequences.

ResumeSummary

Work_ExpEriEncE

StudiES

profESSional_profilE

• ucl, thE BartlEtt

march GraduatE architEctural dESiGn, architEctural rESEarch and dESiGn ( 09 / 2012 - 09 / 2013 )

• nEW School of architEcturE and dESiGn

march GraduatE architEctural dESiGn ( 07 / 2010 - 06 / 2012 )

• univErSity of colorado dEnvEr

march GraduatE architEctural dESiGn ( 08 / 2008 - 06 / 2010 )

• full Sail univErSity

BachElor’S of SciEncE, EntErtainmEnt BuSinESS ( 10 / 2003 - 07 / 2005 )

• full Sail univErSity

aSSociatE of SciEncE (aS), film/cinEma/vidEo StudiES ( 09 / 2003 - 10 / 2003 )

• nEW School of architEcturE thESiS Studio outSidE adviSor ( 09 / 2012 - 06 / 2013)

• proloGuE picturES

production aSSiStant ( 01 / 2007 - 08 / 2007 )

• chEck Six productionS

aSSiStant ( 03 / 2006 - 12 / 2006 )

• aSSociatEd artiStS

aSSiStant/intErn ( 07 / 2005 - 01 / 2006 )

• frEElancEr

camEraman / vidEo EditinG ( 09 / 2003 - 08 / 2006)

• focuSEd dESiGnEr Who WorkS EffEctivEly and EfficiEntly Within a faSt pacEd EnvironmEnt.

• pErSonaBlE hard WorkEr Who ExcElS Within a collaBorativE Work EnvironmEnt.

• proBlEm SolvEr Who thinkS loGically aS WEll aS crEativEly.

• dEtail oriEntEd, SElf-StartEr Who ExErciSES StronG dESiGn and orGanizational SkillS.

• EnErGEtic, tEam playEr offErinG outStandinG GroWth potEntial in any capacity.

• paSSionatE dESiGnEr Who continuES to Work at dEvElopinG hiS dESiGn SkillS.

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matthEW_martEnSEn• Email: [email protected]

• tEl: + 1 (614)738 - 4012

Software_Knowledge

software skills level

Rhinocerous ® 5 ( 3D modelling and fabrication processor ) advanced

Maya ® 2013 ( 3D modelling ) advanced

Keyshot ® 4 ( rendering ) advanced

Revit ® 2013 ( 3D modeling and construction documents ) intermediate

V-ray ® for Rhino ( rendering ) intermediate

Adobe Photoshop ® ( image postproduction and design ) advanced

Adobe InDesign ® ( document layout and design ) advanced

Adobe Illustrator ® ( vector graphic design and construction documents) advanced

Fabrication_Knowledge

tool skills level

Laser cutter ( vector cutting, raster engraving ) advanced

CNC ( 2d and 3D milling ) intermediate

Ultimaker ® desktop printer ( 3D prototyping and printing ) advanced

MIG Welding ( metal fabrication ) beginner

SLS 3D Printer ( 3D prototyping and printing ) intermediate

Woodworking (model making and furniture design ) advanced

Z-brush ® 4 ( 3D sculpting, prototyping and rendering ) advanced

SketchUP ( 3D modeling , rendering and construction documents ) advanced

Adobe Premiere ® ( video editing and compositing ) intermediate

Grasshopper3d® ( parametric modeling ) intermediate

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A r a [ X ] n e sstefan bassing / matthew martensen / efi orfanou / quiying zhong

* araxnes is coming from the Greek word “αράχνες” and means spiders.

only large, commercial design practices and

institutions were in a position in acquiring high-

end equipment in their design. In developing a

DIY alternative ara[X]nes allows for an easily

fabricated system using conventional materials

in an unconventional fabrication method. Through

the use of simple knitting threads and resin, the

final fabrication could produce a customizable

lightweight structure capable of realizing

new spatial scenarios and complex forms. This

systematic process allows users an operational

framework in which to work without the need of

expensive alternatives and high tech machinery.

Ara[X]nes explores the aggregation and variation

of weaving patterns throughout an adaptable

aggregated system. Through the design of a

single geometric object the focus was to develop

a design logic emphasizing the gradient shift in

differentiated weaving patterns within a membrane

shell. This transition within aggregated elements

results in a morphological shift from structure to

skin generating a rich network of patterning and

variation. Inspired by the complex webbing of

spiders along the Pakistani rivers after flooding

which results in a rare phenomenon of heavily

colonized spiders. This clustering of thousands of

spiders within a close proximity results in a heavily

densified webbing system. This webbing becomes

a thick membrane skin that assembles within the

structural frame of the surrounding trees creating

a complex network of webbed architecture. This

behaviour gave insight into both the possibility

of design through the use of weaving patterns

and the conversation between the relationship

of structure and skin. Finally ara(X)nes is the

development of a new type of fabrication, rooted

in the understanding of traditional, hands-on

craft combined with an expertise in contemporary

computational concepts. Ara[X]nes explores the

difference between contemporary computational

design and low-tech fabrication methods.

Questioning high-end design fabrication methods,

for a fabrication method consisting of both

affordable and accessible materials. Until recently

6

7

1942 1960

Linear Construction in Space, Naum Gabo

“..Millions of spiders have climbed up into the trees to escape the rising flood waters in Pakistan... The branches are now so cocooned in spiders webs it gives the appearance of them being shrouded in a large net”.

Taraxacum Lamp, Achille and Pier Giacomo Castiglioni

references

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After nature and spiders, many artists and architects have tried to simulate a membrane shell or cocoon structures by using innovative materials and ways.Starting with the Russian sculptor Naum Gabo and his collection named Linear Construction in Space in 1942, we notice the way he incorporates the technique of stringing so as to create his designed volume. No more than 50 years ago, brothers Achille and Pier Giacomo Castiglioni designed the Taraxacum lamp. A cocoon resin spray sticks on a white powder coated steel while it is rotating, so that the fibre is thicker in the protruding parts of the structure than in other areas. Reaching our times, Oyler Wu Collaborative Studio and their project Screenplay in Los Angeles in 2012, give us a perception of movement, as long as we discover its structural frameworks through a membrane made of rope strings.

2012

Screenplay, Oyler WU Collaborative Research Pavilion by ICD and ITKE, Achim Menges and PHD studio

Last but not least, the Research Pavilion, designed by academics and students from the university’s Institute for Computational Design (ICD) and Institute of Building Structuresand Structural Design (ITKE), made in 2012 in Stuttgart. They programmed a robot to wind 60 kilometres of carbon and glass fibre filaments into this pavilion inspired by a lobster’s exoskeleton. Their research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.

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Inspired and motivated by previous research into

membrane and strings, we explored weaving

patterns. First, in a more abstract way and then, in a more specific

method through the use of computation.

Digital and physical models gave feedback throughout

the research process which assisted in the final design

prototype From patterns that create surfaces, to patterns

that result in indo-skeleton structures, we worked with various

threads, techniques and motifs. Each pattern collected different

performance attributes and delivered different structural loads.

Talking about transition and moving from surface to structure

and vice versa, we explored various patterns so as to express

each transition’s stage appropriately. Weaving patterns that

are denser seemed to work better when we wanted to achieve

attributes related to surface, while sparser motifs worked better

as structure. The idea of indo and exo skeleton bricks is strongly

related to internal weaving patterns, making complete the

transition from surface / exo-skeleton to structure / indo-skeleton.

weaving design and fabrication

* Weaving gradient.

* Aggregation of 4 bricks in a composition that could work either as a space divider or a free form installation.

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* Aggregation of 4 bricks in a composition creating a lighting element.11

pattern

pattern

internal

internal

cotton 2mm

cotton 2mm

white

white

fiber

fiber

colour

colour

pattern internal + overlapped

cotton 2mm

white

fiber

colour

1

2

loops

loops

2loops

12

pattern

pattern

pattern

grid

crossing + twisted

grid

cotton 2mm

cotton 2mm

cotton 2mm

white

white

white

fiber

fiber

fiber

colour

colour

colour

4

4

4

loops

loops

loops

13

final bricks

1 more extra notch on this edge to optimize the weaving pattern

0.40m

fully covered

_closing up the structure _one continous shell

pattern grid

cotton 2mm

white

fiber

colour

1loops

weaving info

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pattern crossing + grid

cotton 2mm

white

fiber

colour

1loops

2

2

2 more extra notches on this edge to optimize the weaving pattern

0.40m

semi covered

_acting as moment of transition / connection between fully closed and mere support conditions within the structure (indo skeleton / skeleton)

weaving info

15

skeleton

_strongest brick, assembled in strands they form the primary support structure(lattice / scaffold)

pattern crossing + twisted

cotton 2mm

white

fiber

colour

5loops

slightly changed gaps between notches so as to optimize the final appearance

0.40m

weaving info

16

indo skeleton

_acting as moment of transition / connection between semi closed and mere support conditions within the structure (skeleton)

pattern crossing + grid

cotton 2mm

white

fiber

colour

1loops

0.40m

extra parts to achieve the internal weaving pattern

weaving info

17

1 loop

grid

1 loop

crossing + grid

5 loops

crossing

1 loop

crossing indo

fully covered semi covered skeleton indo skeleton

fabrication

* Diagram of the final four bricks weaving pattern

18

indo skeleton

assemble

apply wax

weave

impregnate

remove frame

* Start to finish bricks fabrication process.

19

final prototype

* Perspective of final fabricated bricks20

* Final aggregation of fabricated bricks..21

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* Large scale computational aggregation.23

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* Computational aggregation of bricks into a pavilion.25

V e r t i c a l _ B e l a ymatthew martensen / efi orfanou

reflective of the material research

generated in physical prototypes.

Through the application of composite

materials, which include traditional

fiberglass and resin, Vertical belay

establishes a complex network of

formal conditions along with the use of

easily applicable fabrication techniques.

These fabrication methods allow for

an adaptively growing community

through this application of DYI materials

and established climbing systems.

Within these processes establishes an

adventure community that works within

an evolving adaptive fabrication system

that grows or dissipates based on the

users desired spatial requirements.

Resulting in an architectural system

that inverts the vertical condition into

an inhabitable horizontal environment.

Vertical belay is the investigation into the application

of an aggregated spring system enveloped within a

structural fiberglass membrane implemented into

the surrounding environment of the Grand Canyon,

resulting in a vertical community for extreme sports

enthusiasts and climbers in which they are able

to apply an adaptable system into their ecological

environment. Through this design research the

focus was directed at the investigation into variable

change through a differentiated patterning of a

complex weaving system within the application of an

aggregated spring system and fibrous densification,

investigated through the lens of both computational

and physical design processes. Within this application

Vertical belay establishes a design language based on

the physical interaction between two interdependent

systems along a cohesive geometric framework.

Integrating a design language, which seeks to

develop a gradient variability in density and formal

resolution through an adaptive architectural system.

Through the use of a single space filling geometry

the Bi-symmetric hendecahedron, and designed

space filler have an active discourse between

computational design methods (scripting, parametric

modelling and abstract formal investigations)

and physical prototype investigations. Within the

discourse between physical and computational

research Vertical belay centers on the application

of sophisticated design tools, and the active design

knowledge generated within a comprehensive

feedback loop. In the implementation of a controlled

computational dexterity design digitally forms

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14 billion (working title), Tomas Saraceno (2010).

references

Silk Pavilion, Mediated Matter, Neri Oxman, MIT (2013).

Drawing and Representation II, Postgraduate Student’s Project at GSAPP (2012).

Through the examination of existing architectural projects and the examination of naturally accruing phenomenon we sought to develop a formal language that established a system based on varying weaving densities. For example we were looking at the natural processes of spiders and silkworm and the different ways they both established a weaving system through the use of extruded silk thread, however using different methods and purpose. The bases for examining a spider and the method in which it establishes its web was fundamental to our research. The spider when making its web first cast base framework in which it then established the entire webbing system. This behavior is similar to the fabrication process developed in Vertical belay in which climbers cast a structural outline using ropes in order to generate a framework in which they can further establish a dense weaving network. The silk worm however casts its silk in order to produce a protective shell by casting silk out in a repetitive overlapping pattern. This repetitive patterning creates an extensively dense cocoon in which silk becomes an inhabitable volume. This behavior is similar to the way in which spatial forms are generated using fiberglass and resin. In the fabrication process of Vertical Belay, climbers use a repetitive patterning of fiberglass and resin in order to develop inhabitable spatial forms. It is through this precedence in which Vertical Belay sought to develop a fabrication method that established both a structural framework and a densification of fibrous material through the application of ropes and fiberglass materials.

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Vertical Belay created a structural system that allowed variable

access to previously inaccessible regions of the Grand Canyon.

Enabling occupants to actively engage in the local environment both

through physical activities, such as camping hiking and climbing, and

through the continual fabrication of a changing structure. Vertical

Belay synthesized a relationship between a fabrication method that

implemented ropes and tension systems with the activity of rock

climbing, a relationship that capitalized on the inherent application of

similar methods and materials in order to allow for safe participation.

Through the application of fiberglass and a tension system Vertical

Belay created a growing community of extreme sports activists that

continuously interact within the canyons vast environment. This

interaction was achieved through a complex weaving system which

established a network of differentiated connections between local

environments by inverting the inherent conditions of the vertical

cliff into an inhabitable horizontal living condition. Through this

shift Vertical Belay allowed for adaptive programmatic possibilities

that gave climbers the ability to camp floating above a raging river

or along the edge of a steep cliff. Within this constant change in

programmatic requirements and the ease of construction, Vertical

Belay will continuously evolve over the course of the structural

lifespan into a complex network of evolving spatial applications.

final design

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* High resolution aspect of the cocoon areas .

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* Suggested paths for climbers to follow.

Using the Grand Canyon as our site, we set paths throughout itfor climbers to follow. The built structure expanded within the cliffs,creating either connections between points that were not availablebefore (bridge condition), or places for them to spend the night orget some rest (extreme camping condition).Providing the abilityto sleep above the water or float between two cliffs, the proposedstructure offered the climber a unique experience, where adrenaline and peace are combined in an unconventional way.

master_plan

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digital study

manipulation of form through the application of zBrush

manipulation of form through the application of nCloth in Maya

manipulation of form through the application of average vertices in Maya

Moving towards the concept of a structure that

would enhance and facilitate the experience of

climbing, we worked within the site of the Grand

Canyon in various ways to deform clusters of

bi-symmetric hendecaedra. By creating either

bridges, spots or paths, we tested different

ways that the structure could be attached to

the cliffs and what spaces could be produced.

In computational aspect, we experimented

with multiple software’s and techniques so as

to find the proper one: from zBrush to Maya

and Rhino, each of these programs offered

interesting qualities and potentials. For

that reason, we decided to use all of these

applications in order to set the final procedure,

which include nCloth in Maya, zBrush and Rhino.

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Branchy brick N.3 and an aggregation of it.



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Although the structure defines space in the site, there is no spatialdefinition within the structural framework, requiring an additional layer of resolution in which we applied a secondary fiber system. *Aggregated brick N. 3 performing various densities / Realistic perspective view of a composition of N.3bricks, on site.

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*Aggregated framework thought the canyon site.

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* Optimization of the rational framework to a higher level of design resolution .

36

* Applying a densified weaving skin mesh in order to create inhabitable areas.

37

Initial lines to define space. Setting the infrastructure. Addition of fibers to shape the cocoons.

setting diagram of fabrication process on site

38

Bolted chain connection: connecting the tension framework to the canyon face

Rope to rope knots which connect aggregated parts to one another

Spliced carabiner connection: Connecting the tension framework to the aggregated parts.

Bolted connection: connecting the tension framework to the canyon face.

Strap lace carabiner connection: A connection that splices the tension

framework together

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*Perspective of the final system after fiber application.

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Materialized Webbing was designed as an exhibition piece for the finally gallery of the Bartlett’s GAD final gallery. The design agen-da was to encapsulate the design focus of the research cluster. This agenda was focused on the comprehensive understanding of geometry, modeling and fabrication research that became the fo-cuses thought the design process of Materialized Webbing and the focus of design over the course of the year. Materialized Webbing originated through the combination of packing geometries and the aggregation of designed packing bricks. Through this aggregation process geometries could be sculpted within the area of the de-sign space and manipulated using Maya simulations. Simulations that investigate the fibrous systems and webbing network and how these geometry can be generated into a designed space. Through this method of using packing geometries and Maya simu-lation a computational webbing could be sculpted and a 3d model is generated and then used for the purpose of creating a final 3d printed sculpture.

M a t e r i a l i z e d _ W e b b i n gmatthew martensen

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45

Aggregated Bi-symmetric

Aggregated Internal Brick

Internal Brick and Maya Simulation

Internal Vectors

Internal Brick

Bi-symmetric hendecahedron

final application

46

Digital perspective of final model.

Top view final model.

Aggregated Bi-symmetric

Aggregated Internal Brick

Internal Brick and Maya Simulation47

Digital model.

3D printed model.

48

Final model in display case.

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C e l e s t i a l _ E v o l v e m e n tmatthew martensen

Architectural visionaries such as Peter Cook, Paolo Soleri

and Lebbeus Woods, looked at the potentiality of design

and how design inspires new ways of thinking both

within architecture discourse and cultural understanding.

Through their visionary design investigations these

architects were able to question architecture and

the way people experience the built environment

through Innovative ideas that progress

architectural thinking conceptualizing social

impacts of formal application. It is through this visionary

thinking that Celestial Evolvement was envisioned with

the design intent to examine new possibilities of formal

language and how the design and manipulation of form

affects the surrounding environment. Celestial Evolvement

was a computational investigation into the possibilities

of reestablishing landscape through the symbiotic

relationship between an artificial construct and the

natural environment. With the re-imagining of Modulated

Space, Celestial Evolvement’s design is a surrealist formal

visualization reflective of the surrounding environment.

Enveloping the characteristics of the natural environment

Celestial Evolvement establishes a connection within the

landscape through the development of an organic formal

language, a language developed through the use of

computational tools, tools which allow for the application

of organic formal qualities and the formal manipulation.

Finally, Celestial Evolvement stretches the imaginative

possibilities of design and architecture, questioning how

architecture and environment equally affect one another.

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Fluid Agent Interjection was the process of investigating the

possibilities of design through the use of a single material and

how that specific material could be implemented into architec-

tural design. The material used was a cross-linked polymer that

would be the focus within this design process. In the application

of a compound material the objective is to design without the

use of atraditional framework commonly used in traditional ap-

plications of fluid materials, however still maintaining fluid ma-

terials ability to seamlessly and continuously build upon itself.

Here, I broke away from the traditionally static systems used

within conventional architecture and looked at a more dynamic

system of architecture. Conventional architectural methods

sought stasis by minimizing variety in structural elements,

spatial models, and material quality. It emphasizes repetition,

symmetry and continuity, generating form as a way of resound-

ing to a specific behavior. In this traditional method of design

architects look at a specific behavior and then predetermine

an architectural form that responses to that specific behavior.

However, these processes of developing form results in an archi-

tecture that is static and incapable of variable change to the

surrounding environment. This project addressed the method

of material agency which seeks to embody difference in degree

among its parts of the same kind, in order to emphasize varia-

tion across the interrelated parts of a whole. Separating from

the traditional methods of form generation, this work ultimately

sought to reveal a rich network of interactions generating forms

that exhibit Adaptation, Differentiation, Variation, Complexity

and Customization.

F l u i d _ A g e n t _ I n t e r j e c t i o nmatthew martensen

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*Frei Otto material study of fluid and fabric tension

*Frei Otto material study of fluid and fabric tension

*Branching L-system

references

*Funnel web spider web

62

The primary references in this design process were Antoni Gaudi and Frei Otto who both applied material studies, through the use of prototype investigation, into their design process, and investigated new pos-sibilities for materials and their application within architecture. In these formations of form development they went through a process of prototype development that gave insight and direction into the resultingform. Their investigation into material application was not only focused on the process in which each material was developed, but also in the way that material is consequently used in the development of form and design.

The compound material used in this research was a cross-linked poly-mer, a polymer formulation of sodium borate (Borax) or sodium tetra borate in conjunction with a polyvinyle alchohol (PVA) solution. When dissolved in water, sodium borate dissociates into sodiumions and bo-rate ions. When the polymer is present with PVA, the borateions inter-act with the polymer chains and form cross-linking agents. Cross-link-ing agents are ions that help temporarily connect polymer strands with relatively weak ionic bonds. These bonds are strong enough to hold the polymer strands together but not strong enough to make the mass a solid resulting in a slime like fluid.

material

PVA: Polyvinyl Alcohol

H

HH

H

C

C

C

C

OH

H

OH

H

The straight-chain PVA will cross-link with the tetrahedral borate anion, which is generated from borax.

H

HH

H

C

C

C

C

OH

H

OH

H

OH

OHHO

HO

B+ =H

II

H

C

C

C

C

O

II

O

H

O

IIO

H

C

C

C

C

H

II

H

H

B

SlimeBorax, Sodium BoratePolyvinyl Alcohol

63

Polymer has the capability of becoming one continuous surface that integrates into multiple grid point.

Wrinkles add structural strength and a unique texture to the dried polymer.

-

prototype and material investigation

trength

ransparency

lasticity

igidity

Capillaries within the sections gives them an increased tensile strength while still allowing for each section a much more transparent characteristic. These capillar -ies also create a unique pattern that gives the entire assemblage a particular aesthetic.

trength

ransparency

lasticity

igidity

Building up polymer around corners and edges allows for a much stronger and rigid structure.

Increasing the panel size into two sections greatly decreases the strength of the panel while also drastically compromising the structural integrity of the entire screen. In not having the panel connected to the structural grid can result in a failure of the whole system because of the loss of vertical and horizontal structural support.

trength

ransparency

lasticity

igidity

Adjacent sections slumping polymer increases strength and rigidity around edges.

Capillaries can be generated by applying a small amounts of stretched polymer over a drying section.

Thinnest possible section that dose not brake during assem -blage. This is generated by stretching polymer very thin and quickly drying it before it has time to break or separate.

trength

ransparency

lasticity

igidity



Increasing the amount of polymer in the middle of the section after the section has started drying increases rigidity and strength of that section.

trength

ransparency

lasticity

igidity

A buildup of the slumping polymer results in a thicker more rigid section. However it also results in a loss of transparency and an aesthetic disconnection between surrounding sections.


trength

ransparency

lasticity

igidity

Building up polymer around corners and edges allows for a much stronger and rigid structure. It is possible to apply extra polymer after a section is dried to increase strength in the corners.

Overlapping and folding of the polymer can cause di�erentiation within a section. These folds can also increase the strength of a section.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+

Deforming from the grid generates a number of new formal complexities that could not be possible is the design maintained the gridded system.

Seamless connectivity between oppos -ing formal segments.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+

Webbing the polymer provides structure and a continuous network of �uid segments.

Seamless connectivity between oppos -ing formal segments.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+

A buildup of polymer in one gridded section through the connection of multiple segment generates a thicker more rigid section. However it also results in a loss of transparency.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+

Polymer has the capability of becoming one continuous surface that integrates into multiple grid point.


trength

ransparency

lasticity

igidity

S

T

E

R

+

+

The polymer forming a catenary bulge creates a stronger more rigid section. Having the polymer deform from the structural grid generates a new formal characteristic.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+

To have a structural integrity the polymer needed to be thick and opaque, however by not �lling the entire struc -tural grid generates multiple apertures.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+



trength

ransparency

lasticity

igidity

S

T

E

R

+

+

A buildup of the slumping polymer results in a thicker more rigid section. The build up of the polymer also form a structural backbone for the catenary bulge.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+


To have a structural integrity the polymer needed to be thick and opaque, however by not �lling the entire structural grid generates multiple apertures.


trength

ransparency

lasticity

igidity

S

T

E

R

+

+

Deformation of the structural grid creates anomalies in form that also collect slumping polymer. The slumping polymer creates a stronger point of connection.


Convergence of the structural grid into one point generates a larger collection of polymer. This collection creates a structural node for the surrounding panel sections.

trength

ransparency

lasticity

igidity

S

T

E

R

+

+



trength

ransparency

lasticity

igidity

S

T

E

R

+

+

The design required the panelled sections to be rigid enough to hold there weight. In order to make this a thin layer of polymer was stretched over each grid segment a number of times creating a thick strong layer.


trength

ransparency

lasticity

igidity

S

T

E

R

+

+


A buildup of the slumping polymer results in a thicker more rigid section.

trength

ransparency

lasticity

igidity

S

T

E

R

anguage ridded L G ormationF

+

+

+

=

otal T 400ml

olyvinyl P lchoholA+

hite W lue G 100ml

uickdry Q lue G 100ml

4g++

+ orax B 4g

ater W otH 100ml

ater W otH 100ml

trength

ransparency

lasticity

igidity

S

T

E

R

anguage ridded L G eormationD

+

+

+

=

otal T 400ml

hite W lue G 100ml

uickdry Q lue G 100ml+

+ orax B 4g ater W otH 100ml

trength

ransparency

lasticity

igidity

S

T

E

R

anguage ingle L S urfaceS

+

+

+

=

otal T 200ml

iquid L tarch S

+ hite W lue G 100ml

100ml

ronI xideO 50g

trength

ransparency

lasticity

igidity

S

T

E

R

anguage ingle L S urfaceS

+

+

+

=

otal T 300ml

iquid L tarch S


100ml

olyvinyl P lchoholA 4g+

ater W otH 100ml

imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+++

=

ondingB

otal T 200ml

orax B

olyvinyl P lchoholA+ ater W 100ml

4g

4g

ater W otH 100ml

imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+ ondingB

+

=

otal T 200ml

iquid L tarch S

olyvinyl P lchoholA+ ater W otH 100ml

100ml

4g

imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+ ondingB

+

=

otal T 300ml

iquid L tarch S


100ml

olyvinyl P lchoholA 4g+

ater W otH 100ml

imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+ ondingB

+

=

otal T 400ml


hite W lue G 100ml


4g++

+ orax B 4g

ater W otH 100ml

ater W otH 100ml

imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+ ondingB

+=

otal T 700ml


ater W otH 100ml

hite W lue G 100ml

layP andS 100g

4g++


imeT ry

ontrollability

lasticity

iquidity

D

C

E

L

+

+ ondingB

+

=

otal T 400ml


ater W otH 100ml

4g+



otH aterW 100ml+

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final prototype

One of the behavioral aspects of the polymer is it’s heightened re-sponse to light. In particular in the way changing light color affects the overall appearance of the pavilion altering the way it looks and responds to the surrounding environment.

* Final prototype pavilion

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The final application was implemented into a natural landscape scenario. This

scenario was a 2 part system that integrated and adapted within a network

of trees, developing complex controlled formations through the application

of a computational mesh and a polymer fluid. The first system, the mesh, is a

coded system established through the connection of the surrounding context

and the application of a computational physics’ engine. This mesh provides

structure because of it constant tension, suspending the formation. The sec-

ond part of this system is the fluid which provides spatial definition and vari-

ability, giving the inhibitor the ability to adapt to its surrounding environment

quickly and efficiently because of the polymer’s fluid nature.

final application

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As a result of the analogue prototype investiga-tion it was determined that the polymer needed to be integrated into a tension structure system to help hold the polymer in a constant state of ani-mation. In order to achieve this, structural system coding was introduced in the form of Processing and an iGeo library replicating the physics of atension mesh structural system. Coding became not only important in the generation of the mesh structure but it also gave necessary control over the design of the final forms.

* Mesh under physics tension.

code

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* Site Plan *By evaluating the surrounding tree conditions, the exo and indo skeleton are formed. Then through Processing a tension physics is applied.

* Exo and Indo skeleton after physics is applied.

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1

2

1

2

12

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M o d u l a t e d _ S p a c e matthew martensen

The primary design strategy of the library was to create a connection

between the city and the waterfront; a dichotomy that has become

more common in San Diego in recent city development. To demon-

strate this connection, the library must link the waterfront and the

city’s edge while still joining the two using multiple programs and

circulation. Within the major circulation of the building there is a

bridge to provide a safe pedestrian through-point from the water to

the city. With the use of the Voronoi diagram, the library and mar-

ket spaces are established creating a series of similar but different

spaces. These modulated spaces create the organization of each

programmatic element, an inherent circulation path and creates

creating individual spatial adjacencies. The space developed not

only informs the spatial relationships and organization of the library

but also establishes a design strategy that was then implemented

throughout the overall design. The framework established high-

lights the design of the structural and roof systems as well as the

relationship between the two systems.The framework also estab-

lishes a dialogue between the two pragmatic elements both in the

visual adjacency and the formal variations of each space.al forms.

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The primary design strategy of the library was to design a connection between the city and the waterfront; a dichotomy that has become more common over time. To demonstrate this connection, the library must link the waterfront and the city’s edge while also still joining the two using multiple programs and circulation. Within the major circulation of the build-ing there is a bridge to provide a safe pedestrian through-point from the water to the city.

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* Module Section.

*Section Perspective.

* Module Axo

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* Market Perspective.

* Library Perspective.

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* Physical Model

A u r a r i a _ L i g h t _ L i b r a r ymatthew martensen

The Auraria campus is unique because of the diversity of its stu-dents and the disciplines it encompasses—and the library is the crossroads of this community. However the Auraria library has become significantly outdated, lacking in essential educational infrastructure and adequate student facilities. The campus needs to make changes and additions that allow for resources that ex-ceed those of the traditional library. It needs a beacon for the school that will appropriately represent its strive for educational excellence and support for student success. The updated library aids in bridging the current divide of the Auraria campus and the adjacent downtown. The library also helps facilitate the develop-ment of the students education by providing classrooms, digital media sources and an increase in the library’s digital and book cat-alogs. It also provides the opportunity for some students to actu-ally reside within the library’s living center. With the addition of these facilities and resources, students will be more encouraged to live downtown to be closer to the new offerings..

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Screen

First Floor 5’

Second Floor 19’

Reading Room 26’

First Floor Resedential 30’

Second Floor Resedential 40’

Third Floor Resedential 50’

Fourth Floor Resedential 60’

Re�ects solar radiation as well as ten casting ambiant di�used light into the living areas.

Hot air is ventelated through the screen and the buildings glazing. The air can then be used as a heating element for the resedents during cooler months or vented out to lower air conditioning costs.

Grey water tank captues rain water to be used in the watering of the green roof and othe landscape elements

environmental systems

ScrEEn dayliGht protEction

rEflEcts solar radiation as wEll as casting diffusEd light into thE living arEas. thE mEsh is madE from coatEd stEEl which providEs a passivE cooling systEm that has a long opEration timE linE.

ScrEEn niGht liGht tranSparEncy

thE mEsh allows for a transparEncy at night allowing thE building intErior light to flood out illuminating public spacE. this allows for a safEr surrounding arEa at night as wEll as allowing for a public privatE intEraction bEtwEEn thE building and thE surrounding contExt.

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S y n t h e t i c _ A q u a _ E c o l o g ymatthew martensen

Synthetic aqua ecology is the final design realization of the research and application ofsynthetic biology in an oceanic environment. The formal interpretation developed byocean research and the formal characteristics of an artificial oceanic eco-system andactual biological science. First, I investigated marine life, ecological systems and howthey live within the ocean. Along with this research into ocean systems I investigate theapplication of a new field of research, Synthetic Biology, a field of research that looks atthe design and construction of biological devices and systems for useful purposes andapplication. Synthetic aqua ecology is the resulting application of a synthetic biologicalorganism and the structural formation generated from this organism’s designed behavior when implemented into an oceanic environment. In the case of Synthetic aqua ecology, the application of a designed micro-organism performs the specific task of detecting toxins, breaking down pollutants and repairing dying ocean life. Through thisdesigned biological behavior, the resulting structural formation is generated througha purification process in which ocean pollutants are attacked and metastasized intocalcified structures incubated by the pollutants found in the ocean. Consequently, syn-thetic aqua ecology is the designed application of microscopic, living machines, machines that sense and purify toxins, offsetting the affects of ocean pollution. The ecological re-sult from this purification process is a synthetic eco-system that lives and grows off the pollutants found within the ocean. Synthetic aqua ecology proposes the potential offset of the current ocean destruction in favor of a biological system that grows and feeds on oceanic pollutants. Thus, creating an artificial eco-system that takes the negative impacts of human global inhabitance of pollution and re-engineers them into a biolog-ical oasis. Through the use of biological synthetic possibilities, Synthetic aqua ecology works as an oceanic filter, providing new aqua ecologies for marine life resulting in a free floating system where synthetic organisms are applied into heavily contaminated ocean environments. These negative environments will allow for the organism to grow and as pollutants are dissipated, the system will consequently break off and die leaving an ar-tificial calcified coral environment. However, the beauty of the system is a contrasting realization of the consequences of pollution and the affects of human industrialization. Through this application of synthetic biological organisms both design and science can influence new ways in combating growing oceanic pollution and consequently re-engi-neer the ocean’s eco-system starting from a molecular level.

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BioloGical_influEncES

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Synthetic aqua ecology reflects the jellyfish’s physical and biologicalmakeup reflecting the mesogloea that make up the creatures cellularstructure. A structure that allows jellyfish to float within a nutrientrich environment, synthesizing collected nutrients into maximizedgrowth and energy efficiency. This biological makeup is the cornerstoneof how a synthetic organism’s biological behavior would respond to a polluted oceanic environment. Floating as a biological slime feeding off pollutants manifesting in growth and cellular replication..

The growth of flowers or hair like members would become a natural evolution of a synthetic ecology living in the ocean. These hairs are an evolutionary response to the biological necessity which would maxi-mize in the collection of micro-pollutants and the growth of a natural eco-system.

Synthetic aqua ecology’s form growth and calcification reflects the calcification and growth of coral. Synthetic aqua ecology like coral is a metastasizing organism that develops it’s structural makeup based on the surrounding ecological environment. Each grow in a heterogeneous structure quickly or slowly dependent on the nutrients or pollutants available for the organism to feed from.

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Calcified structural formation resulting from the micro-organisms purification of oceanic toxins.

Organism flower growth enables pollutants to be collected and metabolized.

Dyeing calcium structure.

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C o n t r o l l e d _ P l a s t i c i t ymatthew martensen

This project began as a material investigation of concrete and plas-ter that questioned the traditional conceptions applications of these material properties as visually heavy and inflexible. The goal, with the design of the wall, was to show that these materials are not just heavy and unyielding but can be viewed as more dynamic and trans-formational. In order to achieve a change in plaster’s traditional ma-terial characteristics, computer aided design strategies were utilized along with scripting. Through this use of parametric scripting an in-finite number of wall design variations, based on multiple parameters, could be generated and then extracted into the final wall design. The script editor Grasshopper in conjunction with the 3-D modeling soft-ware Rhino were used to developed the wall’s surface variations and the final form. Two Grasshopper scripts were written in the process of developing the final design. The first was used to create the wall’s ribbed structural elements and the second script was written to cre-ate a parametric wall surface using undulated dowels, which estab-lished an infinite number of controlled variations. From these infinite numbers of variations, the final wall design was extracted and built. The wall’s design shows how traditional materials and contemporary technologies can be used to create an innovative dynamic wall design that challenges traditional conceptions of materiality. Only two mate-rials would be used in the wall’s final design which included, quarter inch plexiglass and modeling plaster. The plexiglass was used to help establish the perception of a light weight wall even though, in actu-ality, it was over 300 pounds! The design of the rib structure gave the plexiglass the ability to support the panel’s weight. The modeling plaster was formed from a mold designed in Rhino and Grasshopper and made from wood dowels and fabric. This building method estab-lished a control over the wall panels building process. This also estab-lished flexibility within the panels fluid surface design resulting in a wall design with a lightweight, fluid perception.

Dowels, Ribbed Structure and Fabric

Dowels and Fabric

Undulated Dowels

Grasshopper ScriptWall Panels

Final Wall

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* Aggregated components form a wine case.

G y r o _ S u r f a c ematthew martensen

Gyro Surfaces is a generative design process looking at the

design potentiality of packing geometries through the lens of

contemporary computational design and low-tech fabrication

methods. Initially investigating the inherent packing and

geometric qualities of the gyrobifastigium and evolve it, while

still maintaining the original packing logic. The evolution of

the gyrobifastigium geometry allows for a sophisticated 3

dimensional configuration of a heterogeneous structural system.

Within the design of the gyrobifastigium the objective was to

design a complex aggregating system using double curved

surfaces. These surfaces will aggregate together generating

dynamic spatial and formal networks. These networks because of

their aggregating logic develop a system that can then be applied

into multiple applications such as wall partitions, furniture and

lighting design.

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*Aggregated surface gyro into a wall formation.

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* Component

* Digital model of fabrication mold.

* Silicone casting mold* Physical one to one model

fabrication

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* Physical one to one model

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Documents

Matthew martensen portfolio 2014