Dust Breeding deals with the legibility of amorphous forms in a pseudo-familiar landscape. The forms and the landscape are independent of each other and are governed by independent rules. At the same time, what is initially mere coexistence, gradually determines unexpected moments of empathy resulting in new sets of relationships.

These relationships act on the morphology, posture and function of the elements, which thus cease to behave as unrelated – instead, they begin to develop complex character from cohesion and hierarchical arrangements through mutation. Not unlike the dust accumulating on Duchamp’s work in Man Ray’s famous photograph, it is possible to read the forms both as independent and as embedded in the landscape. There are three families of mutations: 1) ‘object-on-object’, 2) posture, 3) scaling – while each family is independent of the others, mutual intertwining occurs on a variety of levels. The main masses, for example, sit on a bundle of fiber which infiltrates the interiority and expand in that direction. At once, a gradual flattening and scaling of the fiber below becomes the generator of the landscape immediately surrounding the masses. As the flattened fiber irradiates out, it encounters various other typologies and another level of interaction is produced.

This house generates distinctions from character. The distinct elements of a house, its apertures, ground, and domestic arrangement, are untied from the character of its forms: elegant, fat, and graphic.

Each object is formalized by the character of its edges; the house of domestic living is rough and inflated while the house of extravagant living is elegant and loose. Although the character of the houses are different, they share the same edge qualities.

The objects’ mass is emphasized by the almost massless and deflated ground on which they sit. The ground is raw and fluid, and sits on top of the graphic garden. These distinct objects, fat houses, rocky ground, and graphic garden, utilize the edges of shapes and forms to create limits within the urban archipelago. Each object is separate and distinct while limiting the outward spread of its character.

Although the heavy object and light ground are distinct, their interior is continuous and singular.
The materiality of the objects suggests unification over diversity. Blackness spreads across all forms, allowing for graphic and geometric character to make distinct the difference of objects.

Subtle differences tear open the impression of vastness.

This work is centered on the development of a system for generating material volume from streaming information. The system uses UV light from a modified DLP projector to continuously and selectively cure photo initiated resin within a shallow vat system we developed for the project. The cured part is simultaneously and continually pulled away from the vat, allowing un-cured resin to flood in beneath it to be subsequently cured.

The result is the material reification of streaming data that emerges along the motion path of the Staubli robot maneuvering the vat/projector apparatus. This system of fabrication relies upon native real-time feed-back and feed-forward mechanisms, and is therefore interruptible and corruptible at any time. The streaming data input may be transformed or modified at any time, and such interventions impact emerging downstream geometry.

The strength of this investigation resides in the affect that is produced by the abstraction of a recognizable figure and form. The tension spawned by the material to form relationship has been a primary tool. This project attempts to further augment the tension between material application and the sensibility produces by the curvilinear, oscillating form, specifically between the sharp, heavy and jagged stone and the viscid octopus arms.

A third and binding element to this project is the use of crystals as a paint effect over the whole facades of the basilica. The usage of crystal growth on the surface of the stone aids in thickness, altering of light and reflections, as well as color.

The software Processing was used for traffic simulation of an urban design project located in the West Side of Los Angeles. White and yellow points have different speeds and it responses car traffic and pedestrian movements.

The master plan is presented by links between colors and heights. The brighter colors get the higher the topographical area is on the site.