mesonic emission by alisa andrasek _ biothing
Meson, n. _any of a family of subatomic particles that participate in strong interactions _in-between _medium
“… When forces become necessarily cosmic, material becomes necessarily molecular, with enormous force operating in an infinitesimal space…” Gilles Deleuze and Felix Guattari: 1000 plateaus:: 1837:Of the Refrain :::p.343
Mesonic fabrics _ increasing the resolution of architecture When one slices through the fruit’s flesh such as lemon _ it is dense _ it has particular consistency. Fabric of reality described by contemporary physics is similar in nature … dense intermingling relationships… in-betweens… potentials. For the Seroussi Pavilion we looked into self-modifying patterns of vector fields based on behaviors of electro-magnetic fields (EMF). The logics of attraction/repulsion were computed in plan and than “lifted” via series of structural micro-arching sections through different frequencies of the sine function. Additional feature built into our script allows for local adaptation to the site in regards to the section _ given that the pavilion is implanted into a quite steep hill EMF trajectories needed to “find the ground”.
Interior fabric is organized through the infrastructural “cocoons”. They are the system of veils that unfurls through the space building up the resolution and intricacy. (I'll do my research about it later). Cocoon’s fibrous behaviors are grown through script which distributes point charges along the lines of FP trajectories and than weaves the fibers within the ( +/-) constellation of charges. In this way one can guide and stir certain characterizing of this fabric. By the series of experiments one develops an intuition for parametric brackets and spatial distribution of charged constellations which than perform in various ways _ smaller of larger pockets and fins that could have different programmatic affinities.
In a design of the roof tilling resolution was increased by the algorithmic differentiation of components features. Distribution of lighting/shading properties of aperture fields is achieved through sine function driving parametric differentiation of angle, orientation and the size of the aperture as well as the relationship of metal and glass components within each cell.
Floor’s micro-dunning is developed through a complex attractor script operating between 2 sets of geometries. In this case we used two asynchronous series of FP’s magnetic trajectories with parametrically variable density of surface meshes. Micro-dunning behaviors are imagined as a low furnishing system that also articulates 3 wet zones in the house.
Adaptability to the hostnesting into the site Our proposal for a new pavilion is inserting itself as a “ground implant” _ It’s acting as a connective tissue emanating towards series of objects on the site towards an assemblage of diverse yet coherent whole. The logic of distribution algorithm is based on the above mentioned vector field. It is capable of responding to series of variable field conditions. It’s ability to “grow” around the existing large trees or adjust it’s orientation to the adjacent Habitacle 2 allows for finer nesting into particular host conditions of the site. Extended radius of influence can weave the fabric of new implanted ground into the existing landscape pathways.
Programming/// GARDENS::LABYRINTHS Imagine the experience of walking into an enchanted forest _ a synthetic garden _ parallel facet of reality… For this experience the house is oriented onto itself. Through it’s pores one can sense the surroundings. In its nooks one can find moments of inhabitation. In an attempt to address the curatorial concept of variant “modes of intimacy” posed by the brief we used the concept of reorienting/disorienting found in a meandering navigation through a maze. Therefore the whole pavilion is predominantly organized on one level in which way one navigates through the continuous interlaced field. As if lost in an enchanted forest one would explore different degrees of “intimacy” within a veiling infrastructure of pavilion interiority. Wrapped in and in-between cocoon’s swirling fibers would be the moments of inhabitation/cohabitation/display. Instead of considering human and art inhabitation as separate zones we are imagining interlacing different degrees of living conditions and fluctuating art exhibition _ cohabiting the art collection or in Natalie Seroussi’s words _ “living with art”. Meandering through the spatial thickness of this dense fabric is a process of search _ forces of attraction and repulsion inscribed in the conditioning of mesonic fabric are attracting and distracting one’s attention through moments of crystallization and fuzziness. Programming and reprogramming different exhibition sequences is understood as series of probabilistic events. One can rearrange the sequences of art pieces by finding spatial opportunities within the labyrinthine fabric. Simultaneously to interfacing thick fabric’s inhabitants (art pieces) one experiences creeping perception of variations within the fabric itself. In it’s “genetic” memory it is carrying potency for mesonic events. They reverberate through space as intricate and interlaced imprints.
Project credits:
Seroussi pavilion competition proposal by biothing
Principal designer: Alisa Andrasek
Design+Computation: Ezio Blasetti / Che Wei Wang
Flower Power custom written plug-in: Kyle Steinfeld
Design team: Fabian Evers / Lakhena Raingsan / Jin Pyo Jun
Special thanks to Michael Reed (mathematics and rendering expert)
