Tectonic Articulation

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Bearing in mind the three dimensions of architecture task -organization, articulation, signification- and in an effort to create an structural autopoietic system that will offer new opportunities for architectural articulation, the study explores articulation of structural morphologies -through principles of stigmergic collaboration and structural coupling- that will allow the articulation between a variety of spaces by transitions through structural tectonic static morphing.

By self-regulating critical variables of force distribution within a structural system, the ecology of agents is developing an automatic mechanism of self-regulation – homeostasis/autopoiesis system – where the system becomes self-producing, allowing for a correlated and differentiated multi-system. Where like in natural systems, compositions are so highly integrated that they cannot be easily decomposed into independent subsystems. It becomes a system with self-reference and self-regulation which further evolves by using structural coupling. Therefore recognizing that the outside influences cannot shape the system’s internal structure, but act only as a trigger that causes the structure to alter its current attractors.

The ecology of agents allows to correlate multiple systems, and encourage contributive coexistence of different articulation layers.

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Sematectonic Urban Fields

ongoing research on Sematectonic urban fields
Multi-agent systems (M.A.S) (3 billion particles)



more to come on www.nonstandard-studio.com

ubiquitous urbanism studio zaha hadid

bolojan daniel ubiqu0

Our project explores principles of physical and visual connectivity as a method of evaluating and generating new spatial solutions for contemporary society. This idea derives from a startup research of individual urban systems, where on the example of working environment, we have addressed problems, needs and desires of corporative field.

Having analyzed existing precedents, we have met certain communicational constrains intrinsic to old spatial models, that still widely repeated even for new social processes. In order to overcome these limitations, we extract local rules that affect and regulate spatial and communicative formation of working environment – rules of physical and visual connectivity. Implementation of these rules allows us to achieve certain set of variations and combinations, going from complete absence of visual and physical integration between the spaces, to visual integration only, and to the maximum physical and visual integration. Being tightly related with proximity of spaces, these internal rules have certain potential in terms of building relationships not only on local, but also on global scale.

Our idea is to unfold these rules on urban level and encourage correlation of multiple systems by means of principles that would be shared by all systems.

That’s why, when we move from research of individual system to the scale of master plan, as a very first step, we embed principles of physical and visual integration in urban field to guarantee desired levels of connectivity and only after that gradually introduce individual systems. Thus influence of mentioned principles propagates through any system build upon it and act as a correlative mechanism.

After layer of shared properties is established, we start to build an urban field with dominance of one system. This field is gradually altered and updated by the information of the system newly introduced in the field. Each system acts in limits that had been already ascribed to it by other teams research, and cause particular changes when it influences the field.

This strategy allows us to correlate multiple systems, in the way, which excludes simple collage or imposition, and encourage contributive coexistence of urban layers.

Daniel Bolojan

Daniel Zakharyan

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swarm fields studies

beside primary rules of swarms, like cohesion, alignment, separation I started to add into this mess of particles, also some attractive force such as gravity or repulsive force/ orbital which will spin either clockwise or counterclockwise, . While on the first example I was playing exclusively with swarm primary rules, for the second example I started to add new rules (those that I mentioned above)…

watch it fullscreen

watch it fullscreen

Speleothem nss::.

Crystallization nss::.

noisiness nss::.

Belousov–Zhabotinsky reaction 002 nss::.

Belousov–Zhabotinsky reaction 001 nss::.

noisy agents 003 nss::.

noisy agents 002 nss::.



noisy agents 001 nss::.

I’ve just manage somehow to recover my 1tb damaged hard-drive data…FINALLY! …I will start to post a few studies I’ve been working on, early this summer, most of them written in processing using mainly toxiclibs library (many thanks to Karsten “toxi” Schmidt ). So ya…enjoy it.

Bolojan Daniel agent fields01

Bolojan Daniel agent fields02

recursive studies 001 nss::.

turbulence vs air field maya ncloth _ nss::.

Continue reading “turbulence vs air field maya ncloth _ nss::.”

strange attractors_processing_nss::.

more pictures here

motion kinematics&dynamics studies 001 _ nss

jansen mechanism

Theo Jansen, a Dutch artist and kinetic scultpor, born in March 14, 1948, builds large works which resemble skeletons of animals and are able to walk using the wind on the beaches. His animated works are a fusion of art and engineering.

8 links per leg
120 degrees of crank rotation per stride.
3 legs will replace a wheel.
Counterclockwise rotation of the crank.

Step height is primarily achieved by a parallel linkage in the leg that is folded during the cycle angling the lower portion of the leg.

“The walls between art and engineering exist only in our minds.” Theo Jansen

You can find a cool flash simulation of theo jansen mechanism here

parametric curve_nss::.

parametric curve using 3 functions f(x,y,z) , g(x,y,z) , h(x,y,z) and an fibonacci sequence

X=f(x,y,z) = sin(x)*2.1^cos(y)/2-z^sin(2)*φ^sin(y)*cos(z)+2
Y=g(x,y,z) = -y*sin(x)-e*cos(x)↔(2.1*φ)-sin(y)+cos(x)/2+z
Z=h(x,y,z) = z*sin(x)*2.1+cos(y)/2↔z+sin(x*23)
Continue reading “parametric curve_nss::.”

wave porosity_ nss::.

bolojan daniel wp1

“An elegant building should entail an elegant structure and both together should be able to spatialize considerable organizational complexity without descending into visual disorder. Like in natural systems, all forms are the result of lawfully interacting forces.” – Patrick Schumacher – Engineering Elegance

The first example is more about curvilinear tubes which function as a branching network, the number and the position of a branch in the hierarchy of branches from the outermost twig to the trunk, and the length of each branch, have a logarithmic relation.
The second example is based on the idea of formation process of radiolaria, which belong to the order of marine planktonic protozoa and feature a central protoplasm comprising a chitinous capsule and siliceous spicules that are perforated by pores. The porous mass of the cell encasements of radiolaria deliver an interesting model for differentiated texture in architecture that may feature a variety of specific performance capacities.
Each object is unique and consists of curvilinear surface (first example) or honeycomb (second example) like components. As a field, these components act collectively to express properties of porosity, color, and the interplay of light and shadow. This collection of properties generates a moment in a continuous state of change.  It can also absorb thermal energy and release it to the airflow enabled by the porosity, and the double curvature can be utilized for thermal exposure or self-shading.

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rev_enton house_nss::.

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Principal: Andrej Kalamar
Project Architect: Bolojan Daniel

The investor wanted to build a new house for two families, one for his family (front-family with four members) and one
for those who own the parcel (back-family with two members).

The idea was to create a house which, even if it will serve two families, will have the characteristics of a single house, a plausible idea as long as the specific typology is similar to that of adjacent dwellings. The whole design is based on the idea of transition, gradual consistence, gradual density (front four persons – back two persons), gradual transition urban-domestic interface, gradual transition “gable” roof – flat roof, gradual privacy and from here all the spatial hierarchy that result.

The project was designed as a series of triangle surfaces adjacent to a zone of turbulence, oriented to the two sides of the site. The building mass, although static, reveals openings and alternating high points, that by successive overlaping creates new perspectives and a dynamic character. The surface is divided into triangular surfaces, folded triangular surfaces in some areas, folds that serves as structure.

Shape behavior is similar to that of an object captured in a zone of turbulence, the closer the object is the higher deformation and vice versa. When this occurs, we will have two secondary images that create a main one, front interface – which is more urban and dynamic as an expression, and back interface – which is more domestic and more tectonic as an expression. The closer the urban space, urban activities vs public area, is to house shape, the bigger the surface division factor is. The shape interacts with the environment and adjacent activities.

The same principles were followed in terms of functions, so the function and the shape work together as one body (it is no longer the idea presented by catastrophe theory where a point can be catastrophic macro-and micro non-catastrophic). “Front” house and “Back” house are divided in 3 main privacy areas: public-private, private , private +, recalling the idea of telescopic space. All the functions are displayed and organized around those 3 main privacy areas.bolojan daniel rd6bolojan daniel rd3bolojan daniel rd2bolojan daniel rd3

Recreation center_sport and spa_ nss::.


The project ideea is to analyse and integrate the Trenta main characteristics the: mountains, fog, vapour, smoke and the village. By using different elements and their compositions allow to archieve an adaptable system which maintain also its instant recognisability.
As we already know until now architecture represent a game of shadows and light, game where we report permanent. Our perception was governed entirely by this relation.
If we think what happens with an architecture enveloped by haze, we can say that all the perspectives that will result will be distorted like a spherical projection and the fluid boundaries of haze will be in a continuous feedback with the environment. What will happen with the visitor in this haze space? We all know that we find flavor in ambiguity of haze which is full of possibilities, and promises.  Fog will condition a reality in continuing transformation and will always require a new reading.

The project will be an interactiv system, which have almoust the same physically characteristics with haze space
-imposibility of perceiveing space as a whole
-wavey space, with no right angles, the range is connected by a clothoid (flat curve whose curvature is proportional to the length of each arc between center and point considered) symbol of passing into an unknown territory.
-the impossibility to refer to the line of horizon
-the interactiv system will be activated not only by the exact coordinates of the visitor at that time but also the history route.
Moreover, the structure – curved surfaces connecting different elliptic sections – acts as path of deformation while it can change under the influence of wind, just as mist medium does. So, we can say that it is not relevant to speak in terms of architecture, about indoors/outdoors; it is rather a total space, a space – event, where the visitor should find the way by himself.

The need to provide a community centre will usually be generated either by the need to update, modify or replace an existing faccility that has genuinely served a need, or to provide a totally new facility intended to encourage the re-establishment of a sense of community. For community centres to be viable, they must be seen to provide for and be welcoming to the community; they are often a key factor in an area regeneration strategy.

We all know that a vally carved by glaciers, or glacial valley, are normally U-shaped. The valley becomes visible upon the recession of glacier that forms it. When the ice recedes or thaws, the valley remains, often littered with small boulders that were transported within the ice. Floor gradient does not affect the valley’s shape, it is the glacier’s size that does.

Continuously flowing glaciers – especially in the ice age – an large sized glaciers carve wide, deep incised valleys. Examples of U-shaped valleys are found in every mountainous region that has experienced glaciation (is the process of glacier growth and establishment. Glacier is a large, slow-moving mass of ice, formed from compacted layers of snow, that slowly deforms and flows in response to gravity and high pressure. The processes and landforms caused by claciers and related to them are referred to as glacial) usually during the Pleistocene ice ages. Most present U-shaped valleys started as V-shaped before glaciation. The glaciers carved in out wider and deeper, simultaneously changing the shape. This proceeds through the glacial erosion processes of glaciation and abrasion, which results in large rocky material (glacial till) being carried in the glacier. A material called boulder clay is deposited on the floor of the valley. As the ice melts and retreats, the valley is left with very steep sides and wide, flat floor. A river or stream may remain in the valley. This replaces the original stream or river and is known as misfit stream because it is smaller than one would expect given the size of its valley.

If we analyze the site more carefully, we will can see a dilemma that he presents. Dilemma lies in the fact that the valley as a space, is a space-oriented, usually transition space, journey space, and that the theme propose an idea of reviving a seat on the valley, which will have an role of polarization, that is to create something static in a space that “flows on a direction”, which is quite difficult, but this is the challenge of site. We can identify as dynamic element – the river – which includes a valley route- the road, tourist, haze, vapour and as static elements – the village houses, the inhabitants of village. The program that I propose as a solution for this site is an “Recreation Center” which will include two main aspects of the site: first aspect – dynamic aspect  which represents part of the sport (sport it’s an action, represents motion, which in valley context is something plausible) – hiking, trekking, horse riding, free climbing, and sledding are closely linked to the ideea of function that causes attending and return, and the second aspect, static aspect – represented by therapy part – spa.
The size and dunctions of program will be designed so that it can be maintained by the inhabitants of area.
The program is devided in 2 main programs – first sport and second therapy-spa

Continue reading “Recreation center_sport and spa_ nss::.”

urban sequence_trieste_cruiser terminal_nss::.


As we already know ports are points of convergence between two domains of freight circulation; the land and maritime domains. The term port comes from the latin “portus”, which means gate or gateway. Ports are boind by the need to serve ships, and so access to to navigable water has been historically the most important site consideration.
The traditional function of such an urban gateway is to mark a threshold between the inhabitants of the city and the visitors traveling by sea. Similarly, port terminals historically symbolize a doorway to the city with a planar face that is neither part of the urban fabric nor part of the aquatic landscape beyond.
The project will try to provide a more continuous sequence rather than an abrupt transition between the land and sea by occupying the threshold and stretching the duration of arrival along the entire length of the pier.
This extension will establishes a gradual transition from the city and its landscapes to the sea and offers multiple opportunities to mix both visitors and citizens. The project will captures the streams and flows of passengers and citizens in a dynamic mixture. It is not a vertical threshold that occurs abruptly but a horizontal duration of space and time between city and garden.
The transition occurs in two directions along the pier, the first from the sea into the city–which defines the port–and the second from the city to the water–which defines the garden. Each is spatially defined as a distinct tube that unrolls and flattens into a surface.
Upon arrival from the sea, a passenger passes through the volume of the terminal which gradually becomes the surface of the plaza. Like wise, the citizen arrives in an enclosed garden whose natural terrain unfolds into the sea as a surface. Because these sequences are passing through one another, the passengers arriving to the city of Trieste are experiencing the citizens garden. Similarly the citizens share in the experience of transportation.
The project intermingles these two passages, so that one is always participating in aspects of both simultaneously.
The architecture of this relationship of spaces is inherently topological. Because surfaces must transform into volumes, the materials and spaces must be able to mediate between degrees of interior and exterior in a fluid and continuous manner.
The project will be considered as an extension of the city floor, and will create a continuous sequence of public space with Trieste main plaza

Continue reading “urban sequence_trieste_cruiser terminal_nss::.”