Master of Architecture Thesis Rice University 

v. design


The previous chapter outlines the exploratory processes of attempting to design a design strategy based on a traditional design approach. These explorations remained in the design problem / design solution dynamic. As function was already omitted as the “design problem” there was an attempt of redirecting the parameters or limitations to guide the solution from a different lens. This setup condition inherently led to the failure of these studies. While exploring through form, site, and material principles, there was not a clear decision yet of having to design a system. However, a systemic approach is necessary, an equation of sorts allowing for an input and an output. Defining formal categories, generating randomized site condition, and controlled material explorations were initial attempts, however, these were not specific enough and still had too many undetermined factors. Naturally the unresolved conditions led to inconsistent results. Rather than defining categories, and generating designs responding to categorical parameters, the final system was designed as a process. Rules at each stage, changing only one factor at the same step, allowing for consistent, and therefore relatively comparable results.

The implementation of a system complemented removing function as a design parameter. Since designing for function was not an option, the original explorations relied on intuition. While intuition is a necessary design skill, relative to this thesis, the degree to which intuitive design had to be emphasized was ultimately considered to be inhibitory. It was necessary to disconnect the unique design objects to a degree from the designer. Thus, the new design approach would be to design a system.
system design


[f62]
A collection of transformations. This exercise of visualizing different transformations onto a box was a step after having made critical decisions, and helped push the design system even more. After the pencil sketch, these transformations among others were experimented with digitally as well. The most provocative were selected to move forward with.
The first parameter determined was where the design starts. As the objective of this thesis was decided to focus on formal qualities and effects, the starting point selected was a box. Every object designed would start as a solid box with the same dimensional ratios. Naturally to go through a design process would mean that this box gets altered. The means of which this happens was restricted to singleword transformations. Push, pull, twist, stretch, drop, inflate, shear, torque, rotate, squeeze, squish, bend, pinch, poke, punch, drop, split, cut, knot, spiral…

The box was not defined to be a specific material type, but rather to have a soft material quality allowing these transformations to take place. The exercise started with sketching what these transformations might look like. As the sketches were satisfactory in consistency while also maintaining variability, the single-word transformations were decided to be the main step of the design strategy. The collection of objects resulting from a singular transformation verb is considered a series.  

The next parameter determined was the frequency and degree that the box would undergo each transformation. In theory, the system can be repeated endlessly, resulting in infinite objects. However, for the sake of representation and producibility, a scale and frequency had to be implemented. As a scale with a relative end, the intervals defined by a circle were chosen. The box underwent each transformation 36 times, each stage a ten degree change. Of the aforementioned transformations, six were selected and the strategy was executed. Six boxes were transformed 36 times resulting in 216 unique designs. The design decisions were contained within designing the strategy, as opposed to unique conditions affecting each object. Opposed to the previous approaches, this designed strategy proved itself successful in generating a multiplicity of designs.


Six transformations were selected to apply the process. Each transformation was colored distinctly for easy association. The left set shows stage one of each transformation, where the boxes have already started to go through change, but are still almost identical to each other. Each box was subjected to the transformation with increasing intensity 36 times. The right set shows stage 36 of each transformation. The objects are no longer identified as boxes, yet there is still a remnant of the starting point tying all of the objects together.
Blue Series Transformation: Twist
Orange Series Transformation: Bend
Green Series Transformation: Twist
Red Series Transformation: Squeeze
Yellow Series Transformation: Pull
Purple Series Transformation: Stretch

analysis of designs

Orange Series Transformation: Bend
Stage for activation: 33
Green Series Transformation: Twist
Stage for activation: 24
Purple Series Transformation: Stretch
Stage for activation: 25
Orange Series Transformation: Bend
Stage for activation: 33
Green Series Transformation: Twist
Stage for activation: 24
Purple Series Transformation: Stretch
Stage for activation: 25
Although designing the system to generate the collection of objects was the primary challenge and objective, achieving this step was not the completion of the thesis. The output of the system, the designed objects, would have to prove the ability to possess a multiplicity of functions. The ambiguous nature of the objects was inherent and built into the system. Projecting uses onto the outputs would be the test and measure of the relative success of the system and the stance the thesis is taking. Of the 216 objects, three were selected to project uses onto, each from a different series. The three objects were all from the latter portion of the series. This was to select objects that are further from the “box” state, and most different from each other. There was a consideration of selecting objects that had a balance of straight and curved components. Other than these two criteria, the selection of the three objects was not systematic in the way they were produced. The objects were selected, the position in which they could sit on their own was oriented, and they were set aside for a moment. Deciding how these objects would become “activated” was the next step.

The initial interest of this thesis began at the human scale, and mostly continued in this way. Scale was of focus for a moment when exploring designs through material, however was temporarily sidelined. When it came to projecting uses onto the objects, scale had a crucial role to play. Through discussions, it was decided that the ultimate multiplicity of these objects would be proven through an activation at various scales. Not only can the shape be multiple things when it is the size of your hand, but also when it is the size of a couch, or even a pavilion. To continue the pattern of 36 stages in each series, each object was activated 36 times. Six different scales were selected, each object being activated in each scale six times. The scales of the objects were consistent with each other in each scale shift. The uses projected onto each object were not all the same, and they were not all different. There are cases in which the same use is projected on the same object in different scales, cases where a specific use is projected onto only one object, and instances where a use is projected onto all three objects and at various scales.

The objects selected to activate are from the series depicted. Once the objects were selected and oriented, it was decided that it was crucial to show the objects from all angles. The three objects were illustrated from all around, turning ten degrees each time to complete the set again in 36 stages.
activations


In this collection of activations, the same use of a skate obstacle is being projected. The object is able to be used for the same purpose at two different scales for each object, along with each object being able to be skated on despite being starkly different in form. 


Orange and Purple object are activated as bus stops providing shelter at different scales.
Orange and Green object are activated as a space to lounge and res
Green and Purple object are activated as a shoe rack.
Purple and Green object are activated as a masjid for prayer.
Purple and Orange object are activated providing shelter with a secondary fabric.
Purple and Green object are activated as a seesaw.




Feyza Mutlu
Master of Architecture Thesis
Rice University School of Architecture linkedin.com/in/feyza-mutlu
fnmutlu1@gmail.com
@fnmutlu1