1. M a t t h e w _ M a r t e n s e n
R e s e a r c h & D e s i g n
P o r t f o l i o 2 0 1 6
2. Resume
Ara[x]nes
2013 UCL, The Bartlett
Vertical_Belay
2013 UCL, The Bartlett
Auraria_Light_Library
2009 University of Colorado Denver
Modulated_Space
2010 The NewSchool of Architecture
Celestial_Evolvement
2014 Individual Research
Fluid_Agent_Interjection
2012-2013 The NewSchool of Architecture
Gyro_Surface
2012-2013 UCL, The Bartlett
Materialized_Webbing
2012-2013 UCL, The Bartlett
Controlled_Plasticity
2010 University of Colorado Denver
Synthetic_Aqua_Ecology
2013 Individual Research
Carbon_Rider
2014 Individual Research
24k_Corset
2014 Individual Research
ARCHITECTURE WORK
FABRICATION WORK
INDIVIDUAL WORK
2 3
Nine Elms Pimlico Bridge
2015 -Atmos Studio
HIDE Straircase 85 Piccidilly
2014 -2015 Atmos Studio
3. H i d e S t a i rc a s e 8 5 P i cc a d i l l y
Atmos Studio
to welcome the oncoming visitor, filleted at the
edges to flow back into stringer and balustrade.
The nosing of each tread is composed of
a pair of thin tube-like fibres that travel
smoothly out from the inner stringer, across
the entire tread, and back out to extend
forwards and curl into the surrounding wall,
or form the light outer timber balustrade.
The main multi-fibre, solid-timber outer handrail
rises from the edge of the floor void, along
with a series of S-curved structural verticals
and a web of elliptical angled balustrades,
all fading back into the lift wall at the top.
The design for the main staircase at the HIDE
restaurant, at 85 Piccadilly, offers a dramatic
branching timber structure that appears to have
been sown as a delicate seed in the basement,
growing and unfurling like a tamed tree twisting
through the stair void, branching outwards into the
clouds at the mezzanine. It combines a structural
steel and plywood core with solid timber treads and
a highly bespoke use of laminated veneer lumber,
intricately formed by hand over moulds in Poland.
The entire stair curls and cantilevers out from
a sculptural helical inner stringer - a carefully-
carved and highly-articulated bundle of nature-like
fibres which continuously curve and wind upwards
through the void, their strands individually
unfurling into each upper branch and inner tread.
The stringer rises smoothly upwards from the
basement bar, embedding and flattening for
a moment into the half-landing, continuing to
rise smoothly until it gently terminates into
the mezzanine floor. The stair treads emerge
from it like leaves from a stalk, forming a
sequence of concave, scalloped forms in plan.
The intricate geometrical series slowly morphs from
one shape to another, each front generally formed
of smooth tripartite curves - protruding slightly
6 7
7. N i n e E l m s to P i m l i co B r i d g e
Atmos Studio (Competition)
- helping vitalise an area with valuable public realm.
Economising on structure, the ramps
are kept as short as possible by:
(a) springing from the highest points on either shore;
(b) landscaping the bridge’s terminations,
lightly lifting the ground local to the entry
ramps of both Pimlico Gardens & Riverside Walk
(and thus adding drama to the river’s edge)
(c) maximising the gradient of ramps, attaining height
as rapidly as possible whilst maintaining comfort
The bridge splits pedestrians and cyclists into 2
twinned decks, delicately offset in section to allow
proximity yet maximise comfort for each, cyclists
kept just below predominant pedestrian eye level. The
structure radially arrays a series of identical cranked
steel ribs, their central rake doubling as stringer for
the occasional interconnective stair, whose lineaments
otherwise double as seating, guarding or planted
long-grass terraces. The balustrading similarly multi-
functions as sporadic seating at selected viewpoints.
The central deck is suspended from a simple low arch,
spanning almost the full width of the river and aligning
with gardens and buildings either side, leaning back to
counteract the weight of the deck. The entry ramps are
supported on a delicate substructure spanning to the
banks, descending on low lushly-planted ground banks.
We propose a bridge that’s also a form of river, travelling
with, as well as across, the water. Flowing with people
and plants, it offers a continuous landscape that
celebrates life and movement rather than stasis.
People want to flow uninterruptedly - whether
on foot or bike. Any bridge should be a landscape
rather than an object; an extended ground, rather
than a table on legs that needs inconvenient
lifts and steps, and breaks the flow of journeys.
In order to enable users to smoothly and accessibly
climb high enough to achieve the required navigation
height clearance, the ramps become longer than the
shortest distance across the river, and thus the bridge
becomes a sinuous curve that coils extra distance
across its length - an additional bend in a bendy river,
neatly dodging local constraints like the future tunnel,
or neighbouring windows. This meander becomes an
opportunity to enjoy new vantage points, to protrude
beyond the limits of more constrained structure, and
to escape the banality of most straight designs in
favour of a place that has distinction and personality,
providing a destination as much as a journey.
As a continuation of the existing planted landscape
to the North, which it mirrors to the South, the green
bridge helps draw people onto it, combining the pleasure
of plants with the freshness of its space and open-ness
and the constant flux of water and traffic beneath it
14 15
8. A r a [ X ] n e s
stefan bassing / matthew martensen / efi orfanou / quiying zhong
* araxnes is coming from the Greek word “αράχνες” and means spiders.
methods, for a fabrication method consisting of
both affordable and accessible materials. Until
recently only large, commercial design practices
and institutions were in a position in acquiring
high-end equipment in their design. In developing
a DIY alternative ara[X]nes allows for an easily
fabricated system using conventional materials
in an unconventional fabrication method. Through
the use of simple knitting threads and resin, the
final fabrication could produce a customizable
lightweight structure capable of realizing
new spatial scenarios and complex forms. This
systematic process allows users an operational
framework in which to work without the need of
expensive alternatives and high tech machinery.
Ara[X]nes explores the aggregation and variation
of weaving patterns throughout an adaptable
aggregated system. Through the design of a
single geometric object the focus was to develop
a design logic emphasizing the gradient shift in
differentiated weaving patterns within a membrane
shell. This transition within aggregated elements
results in a morphological shift from structure to
skin generating a rich network of patterning and
variation. Inspired by the complex webbing of
spiders along the Pakistani rivers after flooding
which results in a rare phenomenon of heavily
colonized spiders. This clustering of thousands of
spiders within a close proximity results in a heavily
densified webbing system. This webbing becomes
a thick membrane skin that assembles within the
structural frame of the surrounding trees creating
a complex network of webbed architecture. This
behaviour gave insight into both the possibility
of design through the use of weaving patterns
and the conversation between the relationship
of structure and skin. Finally ara(X)nes is
the development of a new type of fabrication,
rooted in the understanding of traditional,
hands-on craft combined with an expertise in
contemporary computational concepts. Ara[X]
nes explores the difference between contemporary
computational design and low-tech fabrication
methods. Questioning high-end design fabrication
6 7
9. 1942 1960
Linear Construction in Space, Naum Gabo
“..MillionsofspidershaveclimbedupintothetreestoescapetherisingfloodwatersinPakistan...Thebranchesarenowsococoonedinspiderswebsitgivestheappearance
of them being shrouded in a large net”.
Taraxacum Lamp, Achille and Pier Giacomo Castiglioni
references
After nature and spiders, many artists and architects
have tried to simulate a membrane shell or cocoon
structures by using innovative materials and ways.
Starting with the Russian sculptor Naum Gabo and
his collection named Linear Construction in Space in
1942,wenoticethewayheincorporatesthetechnique
of stringing so as to create his designed volume.
No more than 50 years ago, brothers Achille and Pier
Giacomo Castiglioni designed the Taraxacum lamp. A
cocoon resin spray sticks on a white powder coated
steel while it is rotating, so that the fibre is thicker
in the protruding parts of the structure than in other
areas. Reaching our times, Oyler Wu Collaborative
Studio and their project Screenplay in Los Angeles
in 2012, give us a perception of movement, as
long as we discover its structural frameworks
through a membrane made of rope strings.
2012
Screenplay, Oyler WU Collaborative Research Pavilion by ICD and ITKE, Achim Menges and PHD studio
Last but not least, the Research Pavilion,
designed by academics and students from the
university’s Institute for Computational Design
(ICD) and Institute of Building Structures
and Structural Design (ITKE), made in 2012 in
Stuttgart. They programmed a robot to wind 60
kilometres of carbon and glass fibre filaments into
this pavilion inspired by a lobster’s exoskeleton.
Their research focused on the material and
morphological principles of arthropods’
exoskeletons as a source of exploration for a new
composite construction paradigm in architecture.
8 9
10. Inspired and motivated by previous research into
membrane and strings, we explored weaving
patterns. First, in a more abstract way and then, in a more specific
method through the use of computation.
Digital and physical models gave feedback throughout
the research process which assisted in the final design
prototype From patterns that create surfaces, to patterns
that result in indo-skeleton structures, we worked with various
threads, techniques and motifs. Each pattern collected different
performance attributes and delivered different structural loads.
Talking about transition and moving from surface to structure
and vice versa, we explored various patterns so as to express
each transition’s stage appropriately. Weaving patterns that
are denser seemed to work better when we wanted to achieve
attributes related to surface, while sparser motifs worked better
as structure. The idea of indo and exo skeleton bricks is strongly
related to internal weaving patterns, making complete the
transitionfromsurface/exo-skeletontostructure/indo-skeleton.
weaving design and fabrication
* Aggregation of 4 bricks in a composition that could work either as a space divider or a free form installation.
* Aggregation of 4 bricks in a composition creating a lighting element.
10 11
11. 1 loop
grid
1 loop
crossing + grid
5 loops
crossing
1 loop
crossing indo
fully covered semi covered skeleton indo skeleton
assembly
apply wax
weave
impregnate
remove frame
* Diagram of the final four bricks weaving pattern * Start to finish bricks fabrication process.
fabrication
12 13
15. V e r t i c a l _ B e l a y
matthew martensen / efi orfanou
tools, and the active design knowledge
generated within a comprehensive
feedback loop. In the implementation of a
controlled computational dexterity design
digitally forms reflective of the material
research generated in physical prototypes.
Through the application of composite
materials, which include traditional
fibreglass and resin, Vertical belay
establishes a complex network of
formal conditions along with the use of
easily applicable fabrication techniques.
These fabrication methods allow for
an adaptively growing community
through this application of DYI materials
and established climbing systems.
Within these processes establishes an
adventure community that works within
an evolving adaptive fabrication system
that grows or dissipates based on the
users desired spatial requirements.
Resulting in an architectural system
that inverts the vertical condition into
an inhabitable horizontal environment.
Vertical belay is the investigation into the application
of an aggregated spring system enveloped within a
structural fibreglass membrane implemented into
the surrounding environment of the Grand Canyon,
resulting in a vertical community for extreme sports
enthusiasts and climbers in which they are able
to apply an adaptable system into their ecological
environment. Through this design research the
focus was directed at the investigation into variable
change through a differentiated patterning of a
complex weaving system within the application of an
aggregated spring system and fibrous densification,
investigated through the lens of both computational
andphysicaldesignprocesses.Withinthisapplication
Vertical belay establishes a design language based on
the physical interaction between two interdependent
systems along a cohesive geometric framework.
Integrating a design language, which seeks to
develop a gradient variability in density and formal
resolution through an adaptive architectural system.
Through the use of a single space filling geometry the
Bi-symmetric hendecahedron, and designed space
filler have an active discourse between computational
design methods (scripting, parametric modelling and
abstractformalinvestigations)andphysicalprototype
investigations. Within the discourse between
physical and computational research Vertical belay
centers on the application of sophisticated design
14 billion (working title), Tomas Saraceno (2010).
references
Silk Pavilion, Mediated Matter, Neri Oxman, MIT (2013).
Drawing and Representation II, Postgraduate Student’s Project at GSAPP (2012).
Through the examination of existing architectural projects and the examination of naturally
accruing phenomenon we sought to develop a formal language that established a system
based on varying weaving densities. For example we were looking at the natural processes
of spiders and silkworm and the different ways they both established a weaving system
through the use of extruded silk thread, however using different methods and purpose. The
bases for examining a spider and the method in which it establishes its web was fundamental
to our research. The spider when making its web first cast base framework in which it then
established the entire webbing system. This behavior is similar to the fabrication process
developed in Vertical belay in which climbers cast a structural outline using ropes in order
to generate a framework in which they can further establish a dense weaving network. The
silk worm however casts its silk in order to produce a protective shell by casting silk out
in a repetitive overlapping pattern. This repetitive patterning creates an extensively dense
cocoon in which silk becomes an inhabitable volume. This behavior is similar to the way in
which spatial forms are generated using fiberglass and resin. In the fabrication process
of Vertical Belay, climbers use a repetitive patterning of fiberglass and resin in order to
develop inhabitable spatial forms. It is through this precedence in which Vertical Belay
sought to develop a fabrication method that established both a structural framework and a
densification of fibrous material through the application of ropes and fiberglass materials.
30 31
16. Vertical Belay created a structural system that allowed variable
access to previously inaccessible regions of the Grand Canyon.
Enabling occupants to actively engage in the local environment both
through physical activities, such as camping hiking and climbing, and
through the continual fabrication of a changing structure. Vertical
Belay synthesized a relationship between a fabrication method that
implemented ropes and tension systems with the activity of rock
climbing, a relationship that capitalized on the inherent application of
similar methods and materials in order to allow for safe participation.
Through the application of fiberglass and a tension system Vertical
Belay created a growing community of extreme sports activists that
continuously interact within the canyons vast environment. This
interaction was achieved through a complex weaving system which
established a network of differentiated connections between local
environments by inverting the inherent conditions of the vertical
cliff into an inhabitable horizontal living condition. Through this
shift Vertical Belay allowed for adaptive programmatic possibilities
that gave climbers the ability to camp floating above a raging river
or along the edge of a steep cliff. Within this constant change in
programmatic requirements and the ease of construction, Vertical
Belay will continuously evolve over the course of the structural
lifespan into a complex network of evolving spatial applications.
final design
32 33
17. * Suggested paths for climbers to follow.
Using the Grand Canyon as our site, we set paths throughout it
forclimberstofollow.Thebuiltstructureexpandedwithinthecliffs,
creatingeitherconnectionsbetweenpointsthatwerenotavailable
before (bridge condition), or places for them to spend the night or
get some rest (extreme camping condition).Providing the ability
to sleep above the water or float between two cliffs, the proposed
structure offered the climber a unique experience, where
adrenaline and peace are combined in an unconventional way.
master_plan
35
34
18. Although the structure defines space in the site, there is no spatial
definition within the structural framework, requiring an additional
layer of resolution in which we applied a secondary fiber system.
*Aggregated brick N. 3 performing various densities / Realistic perspective view of a composition of N.3bricks, on site.
36 37
21. 45
44
Physical Model
A u r a r i a _ L i g h t _ L i b r a r y
matthew martensen
The Auraria campus is unique because of the diversity of its stu-
dents and the disciplines it encompasses—and the library is the
crossroads of this community. However the Auraria library has
become significantly outdated, lacking in essential educational
infrastructure and adequate student facilities. The campus needs
to make changes and additions that allow for resources that ex-
ceed those of the traditional library. It needs a beacon for the
school that will appropriately represent its strive for educational
excellence and support for student success. The updated library
aids in bridging the current divide of the Auraria campus and the
adjacent downtown. The library also helps facilitate the develop-
ment of the students education by providing classrooms, digital
media sources and an increase in the library’s digital and book cat-
alogs. It also provides the opportunity for some students to actu-
ally reside within the library’s living center. With the addition of
these facilities and resources, students will be more encouraged
to live downtown to be closer to the new offerings..
Library Context Perspective
Library Elevation
22. environmental systems
Screen Daylight Protection
Reflects solar radiation as well as casting diffused light into the
living areas. The mesh is made from coated steel which provides a
passive cooling system that has a long operation time line.
Screen Night light Transparency
The mesh allows for a transparency at night allowing the
building interior light to flood out illuminating public space. This
allows for a safer surrounding area at night as well as allowing
for a public private interaction between the building and the
surrounding context.
46 47
Library North Section
Library South Section
23. M o d u l a t e d _ S p a c e
matthew martensen
Theprimarydesignstrategyofthelibrarywastocreateaconnection
between the city and the waterfront; a dichotomy that has become
more common in San Diego in recent city development. To demon-
strate this connection, the library must link the waterfront and the
city’s edge while still joining the two using multiple programs and
circulation. Within the major circulation of the building there is a
bridge to provide a safe pedestrian through-point from the water to
the city. With the use of the Voronoi diagram, the library and mar-
ket spaces are established creating a series of similar but different
spaces. These modulated spaces create the organization of each
programmatic element, an inherent circulation path and creates
creating individual spatial adjacencies. The space developed not
onlyinformsthespatialrelationshipsandorganizationofthelibrary
but also establishes a design strategy that was then implemented
throughout the overall design. The framework established high-
lights the design of the structural and roof systems as well as the
relationship between the two systems.The framework also estab-
lishes a dialogue between the two pragmatic elements both in the
visual adjacency and the formal variations of each space.al forms.
The primary design strategy of the library was to design a connection between the city and
the waterfront; a dichotomy that has become more common over time. To demonstrate this
connection, the library must link the waterfront and the city’s edge while also still joining
the two using multiple programs and circulation. Within the major circulation of the build-
ing there is a bridge to provide a safe pedestrian through-point from the water to the city.
54 55
26. 60 61
C e l e s t i a l _ E v o l v e m e n t
matthew martensen
Architectural visionaries such as Peter Cook, Paolo Soleri
and Lebbeus Woods, looked at the potentiality of design
and how design inspires new ways of thinking both
within architecture discourse and cultural understanding.
Through their visionary design investigations these
architects were able to question architecture and
the way people experience the built environment
through Innovative ideas that progress
architectural thinking conceptualizing social
impacts of formal application. It is through this visionary
thinking that Celestial Evolvement was envisioned with
the design intent to examine new possibilities of formal
language and how the design and manipulation of form
affects the surrounding environment. Celestial Evolvement
was a computational investigation into the possibilities
of re-establishing landscape through the symbiotic
relationship between an artificial construct and the
natural environment. With the re-imagining of Modulated
Space, Celestial Evolvement’s design is a surrealist formal
visualization reflective of the surrounding environment.
Enveloping the characteristics of the natural environment
Celestial Evolvement establishes a connection within the
landscape through the development of an organic formal
language, a language developed through the use of
computational tools, tools which allow for the application
of organic formal qualities and the formal manipulation.
Finally, Celestial Evolvement stretches the imaginative
possibilities of design and architecture, questioning how
architecture and environment equally affect one another.
31. Fluid Agent Interjection was the process of investigating the
possibilities of design through the use of a single material and
how that specific material could be implemented into architec-
tural design. The material used was a cross-linked polymer that
would be the focus within this design process. In the application
of a compound material the objective is to design without the
use of a traditional framework commonly used in traditional
applications of fluid materials, however still maintaining fluid
materials ability to seamlessly and continuously build upon
itself. Here, I broke away from the traditionally static systems
used within conventional architecture and looked at a more
dynamic system of architecture. Conventional architectural
methods sought stasis by minimizing variety in structural
elements, spatial models, and material quality. It emphasizes
repetition, symmetry and continuity, generating form as a way
of resounding to a specific behavior. In this traditional method
of design architects look at a specific behavior and then prede-
termine an architectural form that responses to that specific
behavior. However, these processes of developing form results
in an architecture that is static and incapable of variable change
to the surrounding environment. This project addressed the
method of material agency which seeks to embody difference in
degree among its parts of the same kind, in order to emphasize
variation across the interrelated parts of a whole. Separating
from the traditional methods of form generation, this work
ultimately sought to reveal a rich network of interactions gen-
erating forms that exhibit Adaptation, Differentiation, Variation,
Complexity and Customization.
F l u i d _ A g e n t _ I n t e r j e c t i o n
matthew martensen
72 73
32. *Frei Otto material study of fluid and fabric tension
*Frei Otto material study of fluid and fabric tension*Branching L-system
references
The compound material used in this research was a cross-linked poly-
mer, a polymer formulation of sodium borate (Borax) or sodium tetra
borate in conjunction with a polyvinyle alchohol (PVA) solution. When
dissolved in water, sodium borate dissociates into sodium-ions and bo-
rate ions. When the polymer is present with PVA, the borate-ions inter-
act with the polymer chains and form cross-linking agents. Cross-link-
ing agents are ions that help temporarily connect polymer strands
with relatively weak ionic bonds. These bonds are strong enough to
hold the polymer strands together but not strong enough to make the
mass a solid resulting in a slime like fluid.
*Funnel web spider web
material
75
74
The primary references in this design process were Antoni Gaudi and Frei Otto who
both applied material studies, through the use of prototype investigation, into their
design process, and investigated new possibilities for materials and their applica-
tion within architecture. In these formations of form development they went through
a process of prototype development that gave insight and direction into the resulting
form. Their investigation into material application was not only fo-
cused on the process in which each material was developed, but also in the
way that material is consequently used in the development of form and design.
33. prototype and material investigation final prototype
One of the behavioral aspects of the polymer is it’s heightened response to light. In particular in the
way changing light color affects the overall appearance of the pavilion altering the way it looks and
responds to the surrounding environment.76 77
35. Aggregated components form a wine case.
G y r o _ S u r f a c e
matthew martensen
Gyro Surfaces is a generative design process looking at the
design potentiality of packing geometries through the lens of
contemporary computational design and low-tech fabrication
methods. Initially investigating the inherent packing and
geometric qualities of the gyrobifastigium and evolve it, while
still maintaining the original packing logic. The evolution of
the gyrobifastigium geometry allows for a sophisticated 3
dimensional configuration of a heterogeneous structural system.
Within the design of the gyrobifastigium the objective was to
design a complex aggregating system using double curved
surfaces. These surfaces will aggregate together generating
dynamic spatial and formal networks. These networks because of
their aggregating logic develop a system that can then be applied
into multiple applications such as wall partitions, furniture and
lighting design.
Aggregated surface gyro into a wall formation.
80 81
36. Component
Digital model of fabrication mold.
Silicone casting moldPhysical one to one model
Physical one to one model
fabrication
82 83
37. Materialized Webbing was designed as an exhibition piece for the
finally gallery of the Bartlett’s GAD final gallery. The design agen-
da was to encapsulate the design focus of the research cluster.
This agenda was focused on the comprehensive understanding of
geometry, modeling and fabrication research that became the fo-
cuses thought the design process of Materialized Webbing and the
focus of design over the course of the year. Materialized Webbing
originated through the combination of packing geometries and the
aggregation of designed packing bricks. Through this aggregation
process geometries could be sculpted within the area of the de-
sign space and manipulated using Maya simulations. Simulations
that investigate the fibrous systems and webbing network and
how these geometry can be generated into a designed space.
Through this method of using packing geometries and Maya simu-
lation a computational webbing could be sculpted and a 3d model
is generated and then used for the purpose of creating a final 3d
printed sculpture.
M a t e r i a l i z e d _ W e b b i n g
matthew martensen
84 85
38. Digital perspective of final model.
Top view final model.
Aggregated Bi-symmetric
Aggregated Internal Brick
Internal Brick and Maya Simulation
Internal Vectors
Internal Brick
Bi-symmetric hendecahedron
final application
86 87
40. Dowels, Ribbed Structure and Fabric
Dowels and Fabric
Undulated Dowels
Grasshopper ScriptWall Panels
Final Wall
90 91
C o n t r o l l e d _ P l a s t i c i t y
matthew martensen
This project began as a material investigation of concrete and plaster
thatquestionedthetraditionalconceptionsapplicationsofthesemate-
rialpropertiesasvisuallyheavyandinflexible.Thegoal,withthedesign
of the wall, was to show that these materials are not just heavy and un-
yielding but can be viewed as more dynamic and transformational. In or-
der to achieve a change in plaster’s traditional material characteristics,
computer aided design strategies were utilized along with scripting.
Through this use of parametric scripting an infinite number of wall de-
sign variations, based on multiple parameters, could be generated and
then extracted into the final wall design. The script editor Grasshopper
in conjunction with the 3-D modeling software Rhino were used to de-
veloped the wall’s surface variations and the final form. Two Grasshop-
per scripts were written in the process of developing the final design.
The first was used to create the wall’s ribbed structural elements and
the second script was written to create a parametric wall surface using
undulated dowels, which established an infinite number of controlled
variations. From these infinite numbers of variations, the final wall de-
sign was extracted and built. The wall’s design shows how traditional
materials and contemporary technologies can be used to create an in-
novative dynamic wall design that challenges traditional conceptions
of materiality. Only two materials would be used in the wall’s final de-
sign which included, quarter inch plexiglass and modeling plaster. The
plexiglass was used to help establish the perception of a light weight
wall even though, in actuality, it was over 300 pounds! The design of
the rib structure gave the plexiglass the ability to support the panel’s
weight. The modeling plaster was formed from a mold designed in Rhino
and Grasshopper and made from wood dowels and fabric. This building
method established a control over the wall panels building process. This
also established flexibility within the panels fluid surface design re-
sulting in a wall design with a lightweight, fluid perception.
41. 94 95
S y n t h e t i c _ A q u a _ E c o l o g y
matthew martensen
Synthetic aqua ecology is the final design realization of the research and application of
synthetic biology in an oceanic environment. The formal interpretation developed by
ocean research and the formal characteristics of an artificial oceanic eco-system and
actual biological science. First, I investigated marine life, ecological systems and how
they live within the ocean. Along with this research into ocean systems I investigate the
application of a new field of research, Synthetic Biology, a field of research that looks at
the design and construction of biological devices and systems for useful purposes and ap-
plication. Synthetic aqua ecology is the resulting application of a synthetic biological
organism and the structural formation generated from this organism’s designed behavior when im-
plemented into an oceanic environment. In the case of Synthetic aqua ecology, the application of a
designed micro-organism performs the specific task of detecting toxins, breaking down pollutants
and repairing dying ocean life. Through this designed biological behavior, the resulting structural
formation is generated through a purification process in which ocean pollutants are attacked and
metastasized into calcified structures incubated by the pollutants found in the ocean. Consequently,
synthetic aqua ecology is the designed application of microscopic, living machines, machines that
sense and purify toxins, offsetting the affects of ocean pollution. The ecological result from this
purification process is a synthetic eco-system that lives and grows off the pollutants found within
the ocean. Synthetic aqua ecology proposes the potential offset of the current ocean destruction in
favor of a biological system that grows and feeds on oceanic pollutants. Thus, creating an artificial
eco-system that takes the negative impacts of human global inhabitance of pollution and re-engi-
neers them into a biological oasis. Through the use of biological synthetic possibilities, Synthetic
aqua ecology works as an oceanic filter, providing new aqua ecologies for marine life resulting in a
free floating system where synthetic organisms are applied into heavily contaminated ocean envi-
ronments. These negative environments will allow for the organism to grow and as pollutants are
dissipated, the system will consequently break off and die leaving an artificial calcified coral en-
vironment. However, the beauty of the system is a contrasting realization of the consequences
of pollution and the affects of human industrialization. Through this application of synthetic bio-
logical organisms both design and science can influence new ways in combating growing oceanic
pollution and consequently re-engineer the ocean’s eco-system starting from a molecular level.
42. Biological_influences
96 97
Synthetic aqua ecology reflects the jellyfish’s physical and biological
makeup reflecting the mesogloea that make up the creatures cellular
structure. A structure that allows jellyfish to float within a nutrient
rich environment, synthesizing collected nutrients into maximized
growth and energy efficiency. This biological makeup is the cornerstone
of how a synthetic organism’s biological behavior would respond to a
polluted oceanic environment. Floating as a biological slime feeding off
pollutants manifesting in growth and cellular replication..
The growth of flowers or hair like members would become a natural
evolution of a synthetic ecology living in the ocean. These hairs are an
evolutionary response to the biological necessity which would maxi-
mize in the collection of micro-pollutants and the growth of a natural
eco-system.
Synthetic aqua ecology’s form growth and calcification reflects the
calcification and growth of coral. Synthetic aqua ecology like coral is a
metastasizing organism that develops it’s structural makeup based on
the surrounding ecological environment. Each grow in a heterogeneous
structure quickly or slowly dependent on the nutrients or pollutants
available for the organism to feed from.
Calcified structural formation resulting from the micro-organisms
purification of oceanic toxins.
Organism flower growth enables pollutants to be collected and metabolized.
Dyeing calcium structure.
43. 99
98
C a r b o n _ R i d d e r
matthew martensen
2 4 k _ C o r s t
matthew martensen
99
Front Back
Left Elevation
Front
Bottom Front
Left Elevation
Rider Perspective
![Resume
Ara[x]nes
2013 UCL, The Bartlett
Vertical_Belay
2013 UCL, The Bartlett
Auraria_Light_Library
2009 University of Colorado Denver
Modulated_Space
2010 The NewSchool of Architecture
Celestial_Evolvement
2014 Individual Research
Fluid_Agent_Interjection
2012-2013 The NewSchool of Architecture
Gyro_Surface
2012-2013 UCL, The Bartlett
Materialized_Webbing
2012-2013 UCL, The Bartlett
Controlled_Plasticity
2010 University of Colorado Denver
Synthetic_Aqua_Ecology
2013 Individual Research
Carbon_Rider
2014 Individual Research
24k_Corset
2014 Individual Research
ARCHITECTURE WORK
FABRICATION WORK
INDIVIDUAL WORK
2 3
Nine Elms Pimlico Bridge
2015 -Atmos Studio
HIDE Straircase 85 Piccidilly
2014 -2015 Atmos Studio](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)