The Embryological House, Greg Lynn
The Embryological House, Greg LynnRahat VarmaDiagrams And TheoriesThe Embryological House, Greg LynnForm DevelopmentBody DevelopmentTechnique DevelopmentSpace Development
Architect Greg Lynn's Embryological House was at once made and born, a hybrid of computersimulation and genetic mutation.Greg Lynn's Embryological House was an early work of digital architecture: a work in which thecomputer was a fundamental part of the design process. Research identified characteristics ofdigital architectural artifacts that are keys to their long-term preservation. The results imply ashift in the focus of preservation from the artifact to its transformation in a digital context anda re-evaluation of preservation strategies and principles."DESIGN IN THE AGE OF GENETICS"The Embryological House was inspired by the evolutionary biology and the science of turbulence and made possible by the computer's ability to generate warped or fluidforms. The result of three-dimensional curves defined by mathematical formulae rather than of straight lines specified by fixed, two-dimensional coordinates. TheEmbryological House represents a new approach to fabrication and growth. Historically, a modern house would be thought of as a kit-of-parts. Each part is distinct anddiscreet, and you customize the house through the addition or subtraction of parts from the kit.FORM EVOLUTIONTHE EMBRYOLOGICAL HOUSE IS A SERIES OF ONE-OF-A-KIND HOUSES THATARE CUSTOMIZED BY GREG LYNN FORM FOR INDIVIDUAL CLIENTS. THEHOUSES ARE ADAPTABLE TO A FULL RANGE OF SITES AND CLIMATES. THEMINIMUM REQUIREMENT FOR ANY SITE IS A 30.5-METRE (100-FOOT)DIAMETER CLEAR AREA OF LESS THAN30-DEGREE SLOPE FOR THE HOUSEAND ITS SURROUNDING GARDENS, DESIGNED BY JEFF KIPNIS.Figure 1: Shows how the particles that arecontrol points of the surface of the formwhen toggled may generate multipleiterations.Rahat VarmaForm DevelopmentTheories and DiagramsThe Embryological House, Greg LynnForm Development
The Embryological House, Greg LynnForm DevelopmentForm development of iteration 1 in detail:Figure 2: Shows how the particles alone infree space .Figure 4: Shows how the second stage of thetoggle of particles that begin to generate a moreclearer push and pull for the same surfacemorphology– TYPOLOGY IIFigure 3: Shows how the toggle of particlesthat are control points of the surface –TYPOLOGY IRahat VarmaForm DevelopmentTheories and Diagrams
DEVELOPMENT AND EVOLUTIONAT THE PROTOTYPING STAGE OF THE EMBRYOLOGICAL HOUSE, LYNN DEVELOPED SIX INSTANCES EXHIBITING A UNIQUE RANGE OF DOMESTIC, SPATIAL, FUNCTIONAL, AESTHETIC AND LIFESTYLE CONSTRAINTS.IN THE PROJECT DESCRIPTION HE EMPHASIZED THAT:‘THERE IS NO IDEAL OR ORIGINAL EMBRYOLOGICAL HOUSE, AS EVERY INSTANCE IS PERFECT IN ITS MUTATIONS. THE FORMAL PERFECTION DOES NOT LIE IN THE UNSPECIFIED, ORDINARY AND GENERICPRIMITIVE, BUT IN A COMBINATION OF THE UNIQUE, INTRICATE VARIATIONS OF EACH INSTANCE AND THE CONTINUOUS SIMILARITY OF ITS RELATIVES. THE VARIATIONS IN SPECIFIC HOUSE DESIGNS ARESPONSORED BY THE SUBSISTENCE OF A GENERIC ENVELOPE OF POTENTIAL SHAPE, ALIGNMENT, ADJACENCY AND SIZE BETWEEN A FIXED COLLECTION OF ELEMENTS. THIS MARKS A SHIFT FROM A MODERNISTMECHANICAL KIT-OF-PARTS DESIGN AND CONSTRUCTION TECHNIQUE TO A MORE VITAL, EVOLVING, BIOLOGICAL MODEL OF EMBRYOLOGICAL DESIGN AND CONSTRUCTION.’Figure 5: Shows the particle pull initeration 2.Figure 6: Shows the particle pull initeration 3.Figure 5: Shows the particle pull initeration 4.Rahat VarmaForm DevelopmentTheories and DiagramsThe Embryological House, Greg LynnForm Development
The Embryological House, Greg LynnBody DevelopmentRahat VarmaBody DevelopmentTheories and Diagrams
The Embryological House, Greg LynnBody DevelopmentRahat VarmaBody DevelopmentTheories and Diagrams
The Embryological House, Greg LynnBody DevelopmentRahat VarmaBody DevelopmentTheories and Diagrams
The Embryological House, Greg LynnBody DevelopmentRahat VarmaBody DevelopmentTheories and Diagrams
The Embryological House, Greg LynnTechnique DevelopmentRahat VarmaTechnique DevelopmentTheories and Diagrams
The Embryological House, Greg LynnTechnique DevelopmentRahat VarmaTechnique DevelopmentTheories and Diagrams
The Embryological House, Greg LynnTechnique DevelopmentRahat VarmaTechnique DevelopmentTheories and Diagrams
Particle Population to Define FormFigure 17:the endless iterations that could begenerated using the basic program codeRahat VarmaTechnique DevelopmentTheories and DiagramsThe Embryological House, Greg LynnTechnique Development
Particle Population to Define FormFigure 18: The particle settling process tofrom a definite formthe houses are built of monologue aluminum shell and secondary framewith additional steel members. the aluminum panels are painted in apalette of opalescent colors that highlight the voluptuous shapes of theexterior.Rahat VarmaFigure 19: structural technique adopted forfabricationTechnique DevelopmentTheories and DiagramsThe Embryological House, Greg LynnTechnique Development
The Embryological House, Greg LynnTechnique DevelopmentComputer Renderings of the ProjectFigure 20: Greg Lynn Embryologic House[computer rendering]Rahat VarmaTechnique DevelopmentTheories and Diagrams
Spatial Logic: Formal and CulturalIteration IUnderstanding space in terms of frames of function and logic thuscreating an experience for the observer. This system of perceiving space asa sequence of static frames gives each observer the liberty to conceivespace privately. Figure 24: Over laying the to definations inthe space .Figure 23: Over lapping the twodefinitions.Figure 22: Defining the main nodes thatrespond to the external conditions. Figure 21: Defining the main nodes offunction in the space.Figure 25: In section the main nodes thatrespond to the external conditions andinhabitation of the space generatedRahat VarmaFigure 26: Rendering of the inhabitation of the spacegeneratedSpace DevelopmentTheories and DiagramsThe Embryological House, Greg LynnSpace Development
Spatial Logic: Formal and CulturalIteration IIViewing the built form in multiple perspectives and multiple layers of function Figure 30: Over laying the to definations inthe space .Figure 29: Over lapping the twodefinitions.Figure 28: Defining the main nodes thatrespond to the external conditions. Figure 27: Defining the main nodes offunction in the space.Figure 31: In section the main nodes thatrespond to the external conditions andinhabitation of the space generatedRahat VarmaFigure 32: Rendering of the inhabitation of the spacegeneratedSpace DevelopmentTheories and DiagramsThe Embryological House, Greg LynnSpace Development
The Embryological House, Greg LynnSpace DevelopmentSpatial Logic: Formal and CulturalIteration III Figure 36: Over laying the to definations inthe space .Figure 37: In section the main nodes thatrespond to the external conditions andinhabitation of the space generatedRahat VarmaFigure 35: Over lapping the twodefinitions.Figure 38: Rendering of the inhabitation of the spacegeneratedFigure 34: Defining the main nodes thatrespond to the external conditions. Figure 33: Defining the main nodes offunction in the space.Space DevelopmentTheories and Diagrams
The Embryological House, Greg LynnSpace DevelopmentFormation evolution and emergence of spaceOver timeThe population ratios change over the evolution of space and so does the definition of space get more refinedthus effecting the inhabitation levels.Smooth spacesSmooth spaces are like that of the ocean or the desert; theyappears as one continuous entity.Striated spaces on the other hand feel much more controlledand rigid, have limits, and focuses on points.The Embryological House iterations seem to be anideal example to study in terms of the evolution ofsmooth space to striated space. The renderedimages show the transformation of this digitallydeveloped project and the translation of the earlyiterations to a the later more controlled and higherdeveloped iterations .Striated spacesRahat VarmaSpace DevelopmentTheories and Diagrams
" A New Style of Life "The Embryological House has a double skin. The first skin, which is the building enclosure, isbuilt of aluminum and glass. I wanted to avoid punching windows, so the skin has very fineshreds in it; the wall can go from something like punched windows to something like a glasswall, depending on far apart you have these shreds. The wall is translucent and filigreed, like ascreen.Because of that fenestration system, there's a second skin over the first, a shading skin. Wetake the solar data for any region in the world, put it in the computer, and calculate where thedaylight and shadows will fall on the form. Then, we use that information to map a doubleskin onto all those undulations and indentations. This second skin is a system of strips, almostlike a Venetian blind, but in 3-D, wrapping around the contours of the house. Looking at itfrom the north of the house, you can see between those strips; from the south, they overlapto generate opacity.The door to the house is a sphincter-like aperture that irises open and shut. It usescounterweights; all you have to overcome is the inertia of the weight of the door and then itbasically opens itself. Inside, it's like being in a jungle. The way the light enters the house–through fronds, and through the arbor of the shading system–make it very aqueous.The inside of the Embryological House is like a car interior. You have a surface that isupholstered, carpeted, veneered and has instrumentation and technology built into it. Thefloor of the upper level can inflect, bulge and gastrulate to form furniture, storage, cabinets,tables, chairs, tubs, and so forth, and is embedded with appliances, furniture and equipment.The floor finishes include cork, artificial leather, wood, MDF, Maderon, stainless steel, rubber,carpet, fabric, ceramics, gel padding and plastic.The lower level, by contrast, is completely planar. It's really two kinds of living space: thelower one is very uncustomized, open to all kinds of quick modifications. You move from onelevel to the other via ramps or stairs that you can plug in. The lower level of the house is halfin and half out of the ground. The house can generate its own "nest," in a sense; when you setthe form on the ground, whether the site is flat or sloped, the shape of the house pulls theground up to meet it. In the computer, you can set the geometry of any one of the houseformations on any kind of ground, and the interaction of the two will make a unique kind of anest that surrounds the house.Embryological House concludes with " A New Style of Life," a science-fiction storydescribing the domestic life of an occupant who has been consumed by hisEmbryological House, as in swallowed. The interference between its digital andbiological systems gives rise to a house that is animal-like in structure–andbehaviour.Rahat VarmaChaos ensured .Space DevelopmentTheories and DiagramsThe Embryological House, Greg LynnSpace Development
The Embryological House, Greg LynnWorks CitedAgrest, Diana I. “Architecture from Without: Body, Logic, and Sex”, in Architecture from Without,1993, 173-191.Benjamin H. Bratton, “The Premise of Recombinant Architecture One”, In Session ,2006,94-111Merleau-Ponty, M. “The Synthesis of One’s Own Body”, in Phenomenology of Perception, 1962,148-54.Lars Spuybroek, “ The Structure of Vagueness”, NOX Machining Architecture, 2004, 352-259External ReferencesDeleuze, G and F. Guattari. A Thousand Plateus: 1440: The Smooth and the Striated. U of Minnesota Press, 1987.Frazer, John. An Evolutionary Architecture. London: Architectural Association, 1995.Gans, Deborah and Zehar Kuz. The Organic Approach to Architecture. New York:/ Chicester:Wiley, 2003.Karen Burns. “ Greg Lynn’s embryological house project: the “Technology” and metaphors of metorsm ofArchitecture”, 2000Lynn, Greg. Animate Form. New York: Princeton Architectural Press, 1999.Lynn, Greg. “Greg Lynn: Embryological Houses,” AD “Contemporary Processes in Architecture”70, 3, London: John Wiley & Son, 2000: 26-35.Lynn, Greg, Folds, Bodies and Blobs: Collected Essays. Brussells: La Lettre Vole, 2004.Rahat VarmaSpace DevelopmentTheories and Diagrams
computer was a fundamental part of the design process. Research identified characteristics of digital architectural artifacts that are keys to their long-term preservation. The results imply a shift in the focus of preservation from the artifact to its transformation in a digital conte
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