Wednesday, January 20, 2010

100121_withR&Sie(n) @LeLaboratoire, Paris


Research and exhibition credits:

R&Sie(n) / Le Laboratoire
Scenario, design, production: R&Sie(n)
Math process: François Jouve
Computation: Marc Fornes with Winston Hampel and Natanael Elfassy
Robotics design: Stephan Henrich
Physiological data scanning process and design: Gaetan Robillard, Fréderic Mauclere and Berdaguer & Pejus and Mark Kendall on Microneedles.


humor-driven architecture” / R&Sie(n) / Le Laboratoire
Mathematical, physiological, robotic and construction processes for a self-organized collective habitat.


Pitch / "une architecture des humeurs", a research project / exhibition in which the R&Sie(n) architectural practice has worked with a group comprised of a mathematician, programmers, architects and a robotics designer to develop a computational approach based on biological and physiological data scanned from visitors who are put through situations inciting repulsion, stress and pleasure to conceive housing units and urban fragments based on relational protocols. From January 22 through the April 26, 2010, at Le Laboratoire, 4 rue du Bouloi, 75003 Paris


From R&Sie website:
"Un architecture des Humeurs"

From January 22-2010, the studio R&Sie(n) will render visible a project exploring new modes and apparatuses of architectural structuring and transaction:

- One aspect is comprised by computational, mathematical and machinist procedures designed to produce an urban structure following certain protocols. These successive indeterminate, improbable and uncertain aggregations will rearticulate the link between the individual and the collective.

- The other aspect is the scanning of the neuro-biological emissions of each visitor so as to analyze their chemical composition. Until now the collection of information involved in the residential unit protocol has been based on visible and reductive data (area, way of life, number of rooms, mode of access, neighbourhood frontiers).

In contrast, this experiment will provide the occasion for an interrogation of the shadowy “emission of desires” through the scanning of certain physiological signals, and the implementation of a chemistry of the moods of future purchasers taken as inputs generating a diversity of habitable morphologies and the relationships between them.

A signal collection station will be on hand. It will make it possible to perceive these variations and the way in which changes in emotional state affect the emitted geometries and influence the construction protocol.

Animist, vitalist and machinist, “mood-driven architecture” rearticulates the need to confront the unknown, an uncertain and unpredictable nature, in a contradictory manner by means of computational and mathematical assessments.

“Humor-driven architecture” is also a tool that will give rise to “Multitudes” and their palpitation and heterogeneity, the premises of a relational organization protocol.

This research is being carried out with François Jouve, the mathematician in charge of working out dynamic structural strategies; Marc Fornes with Winston Hampel and Natanael Elfassy in charge of computational development; the architect and robotics designer Stephan Henrich; and Gaetan Robillard and Fréderic Mauclere for the physiological data collection station, following a scenario by Berdaguer and Pejus. A second process of collect via “Microneedles” of Mark Kendall will be included.

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Sunday, September 06, 2009

090906_FALL09 | Columbia University & USC

FALL2009 | teaching (n)certainties v4.0 & (n)certainties v5.0

FALL 2009 | USC | Univerity of Southern California

FALL 2009 | GSAPP | Columbia University
(n)certainties v5.0 | Advanced Studio | FRANCOIS ROCHE / MARC FORNES

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Sunday, March 15, 2009


(n)certainties v3.0 | Cross Over Studio | Die Angewandte
STUDIO: Francois Roche, Marc Fornes, Stephan Henrich
Student's work exhibition - Opening: 17. March 2009, 20:30

/// Adam Orlinsky


/// Jan Gronkiewicz and Valerie Messini

/// Dominik Strzelec and Galo Moncayo

/// Raffael Petrovic

/// Martin Kleindienst and Vladimir Ivanov

/// MirkoDaneluzzo and MartinaJohannaLesjak

FINAL REVIEW //////////////////////////////////////////////////////
(from left to right)Stephan Heinrich, Staphanie Lavaux, , Francois Roche, Alisa Andrasek (Biothing) + (not on the photo) Kivi Sotamaa and Marc Fornes

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Thursday, January 01, 2009


Few work samples of this year opus of (n)certainties - the studio we are teaching with Francois Roche (R&Sie) at Columbia University GSAPP this fall 2008.

PAPER | Mariliis Lilover

SMEARING | Mathew Staudt

PLASTIC | Charles Valla

GLASS | Matthew Lutz

GLASS | Chi-Chen Yang

STRAW | Leuyu Chen

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Friday, September 05, 2008

080905_CoLab: R&Sie + THEVERYMANY (003)

LOOPHOLE (Cieszyn, Poland - Cesky Tesin,Czech / 2008)
Collaboration with Francois Roche, principal of R&Sie

Far from being the final scheme - here is one of the many options studied in February...
Further away from weaving - it had its own flavor as well: the "clips" build up was looked at as an assembly of single ring type with standard pipes (of custom length); a ring-pipe steel interface would have still needed to be developed in order to allow the rings to follow the direction of the weave for perfect snapping...


LOOPHOLE / Design of a pedestrian bridge on the boundaries of the two countries
Cieszyn, Poland-Cesky Tesin,Czech / 2005-2008

Architect: R&Sie(n)… Paris
Associated partner: Marc Fornes on clips parametric version.
Creative team: François Roche, Stéphanie Lavaux, with Sylwia Bogdan, Toshikatsu Kiuchi
Engineer: VP&Green, Paris
Key dimensions: 60 m linear
Client: The city of Cieszyn, in both part, Polish and Czech
Cost: 2 million €

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Sunday, July 27, 2008

080727_CoLab: R&Sie + THEVERYMANY (002)

LOOPHOLE (Cieszyn, Poland - Cesky Tesin,Czech / 2008)
Collaboration with Francois Roche, principal of R&Sie (

THEVERYMANY was primarily asked to develop a 3D weaving system.
Weaving protocols are quite straight forward to code as extremely explicit by nature: basically a set of procedure telling up/down/up/down based on a specific period or pattern.

Though in that specific case THEVERYMANY was required to weave through an existing primary direction (or loom) which is non linear - basically a set of "randomly" weaved curves not following one overall set of rules - therefore as no under laying order or "grid" one can't expect within the loops to understand its front, back, left & right neighbors, and therefore if those are up or down... no global sequence of weave can't be applied...

Following a series of tests and options - Marc Fornes / THEVERYMANY in collaboration with Francois Roche / R&Sie ended up developing a set of local agraffes/clips - having to search for their state - here was the very first attempt (February 2008)

(Obviously at that stage no need to run any clash procedure to understand membrure/rib's integrity limit or structural weakness - but enough though to validate the hypothesis of scenario and its possible effect...)

You can find the proposal on new-territories;


LOOPHOLE / Design of a pedestrian bridge on the boundaries of the two countries
Cieszyn, Poland-Cesky Tesin,Czech / 2005-2008

Architect: R&Sie(n)… Paris
Associated partner: Marc Fornes on clips parametric version.
Creative team: François Roche, Stéphanie Lavaux, with Sylwia Bogdan, Toshikatsu Kiuchi
Engineer: VP&Green, Paris
Key dimensions: 60 m linear
Client: The city of Cieszyn, in both part, Polish and Czech
Cost: 2 million €

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Tuesday, June 03, 2008

080603_CoLab: R&Sie + THEVERYMANY (001)

Collaboration with Francois Roche, principal of R&Sie ( THEVERYMANY / February 2008

THEVERYMANY was initially asked to developed a plug-in looking at weaving structures - first from a series that post is showing the very first generic tests.

Side notes: WEAVING (ie

WEAVING is the textile art in which two distinct sets of yarns or threads, called the warp and the filling or weft (older woof), are interlaced with each other to form a fabric or cloth. The warp threads run lengthways of the piece of cloth, and the weft runs across from side to side.
Cloth is woven on a loom, a device for holding the warp threads in place while the filling threads are woven through them. Weft is an old English word meaning "that which is woven".

The manner in which the warp and filling threads interlace with each other is known as the weave. The three basic weaves are plain weave, satin weave, and twill, and the majority of woven products are created with one of these weaves.

Woven cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs, including tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat. Fabric decorated using a wax resist method is called batik.

The ancient art of handweaving, along with hand spinning, remains a popular craft. The majority of commercial fabrics, in the West, are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby looms and the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency of the Jacquard loom, and the Jacquard weaving process makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design.

In general, weaving involves the interlacing of two sets of threads at right angles to each other: the warp and the weft. The warp are held taut and in parallel order, typically by means of a loom, though some forms of weaving may use other methods. The loom is warped (or dressed) with the warp threads passing through heddles on two or more harnesses. The warp threads are moved up or down by the harnesses creating a space called the shed. The weft thread is wound onto spools called bobbins. The bobbins are placed in a shuttle which carries the weft thread through the shed. The raising/lowering sequence of warp threads gives rise to many possible weave structures from the simplest plain weave (also called tabby), through twills and satins to complex computer-generated interlacings.

Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warpfaced textile such as rep weave. Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weftfaced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry. In tapestry, the image is created by placing weft only in certain warp areas, rather than across the entire warp width.

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Tuesday, September 25, 2007


(n)certainties biotopes is the brief of the studio Francois Roche / R&Sie and Marc Fornes / theverymany are co-teaching this Fall 2007 at Columbia University:
(n)certainties is based on Robotics & bottom up protocol of growth...
(thx Francois for the kind inviation!)

Option Explicit
'Script written by Marc Fornes
'Script copyrighted by Marc Fornes /
'Script version 13 September 2007 16:05:03

Call Main()
Sub Main()

Dim i,j,k
Dim arrPt

Dim dblLow : dblLow = -5
Dim dblUp : dblUp = 10

Dim arrPts()
Dim n : n = 0

Call rhino.enableRedraw(False)
' ===========================
For i = 0 To 5
For j = 0 To 5
For k = 0 To 5

ReDim Preserve arrpts(n)
arrPts(n) = array(random(dblLow, dblUp),random(dblLow, dblUp),random(dblLow, k*dblUp))
Call rhino.AddPoint (arrPts(n))

If n >= 2 Then
Dim arrPtNearer : arrPtNearer = functNearestNeighbor(arrPts, n)
Dim strLine : strLine = rhino.addLine(arrPts(n), arrPtNearer)
Call Rhino.AddCone (arrPts(n), arrPtNearer, 0.2)
call rhino.addSphere (arrPts(n), 0.2)
End If

n = n + 1

' ===========================
Call rhino.enableRedraw(True)

End Sub

Function random(low, up)
random = (up - low) * Rnd + low
End Function

Function functNearestNeighbor (arrPts, index)

Dim k, dblDist
Dim dblDistMin : dblDistMin = 100000

For k = 0 To UBound(arrPts)

dblDist = Rhino.Distance(arrPts(index), arrPts(k))

If dblDist <> 0 And dblDist < dblDistMin Then
dblDistMin = dblDist
Dim arrPtNearest : arrPtNearest = arrPts(k)
End If


functNearestNeighbor = arrPtNearest

End Function

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