In music, the strange loop, refers to the phenomenon in which a pattern set by a composer, is then broken only to return whole again, as in Bach’s canons. As Hofstadter remarks, implicit to the concept of the strange loop is the concept of infinity, since “what else is a loop but a way of representing an endless process in a finite way?”
As seen in Escher’s ‘Metamorphosis’, infinity plays a large role. Copies of one single theme often fit into each other, forming visual analogues to the cannons of Bach.
Through a process of incremental subdivision modelling, a series of mutated taxonomies were developed. Studying each unit lead to a ‘paste special’ methodology, defining tectonic malformations of such taxonomies, the outcome becoming in itself, an abstracted strange loop of tectonic possibilities.
Designed with the CATIA design development environment, this installation pushes a 3-axis router to its limits with a unique undercut and variable modules. A total of 66 cells with variable input points were instantiated within an armature using a knowledge pattern that automated the insertion of each UDF (user-defined-feature). Each UDF morphed function of the knowledge pattern that linked the coordinates for the insertion of the cell to inner parameters controlling the resolution of the, initially double curvature, base unit. Eight sheets of high-density foam were flip-milled and joined with a two-part epoxy adhesive to create the final product. Following assemblage, the installation was coated with thin layers of latex primer and gold metallic paint for durability. This installation elaborates on the findings of a previous research- “Sambo Reconfigured” - and allowed us to revisit the module slicing strategy and CNC tolerances in order to optimize the process. The installation was CNC routed using a combination of 16 and 20 lbs. density polyurethane.

The Strange Wall positions itself between following the constraints of fabricating a undevelopable surface assembly on a three-axis router and surrendering the process to the limitations of the fabrication tool while embracing the unexpected undercuts resulting from using more accurate stepovers and a stratified slicing strategy.
The tool path pattern is conducted in relation to digitally assisted analytic methods. It is a study in the creation of ornament that learns from the geometric mass. Surface curvatures, sizes, and normal forces became the focus of our computation method. Various scripts were developed to induce the visualization of this surface data. The 2D pattern is then mapped to the correct UV points on each surface while taking into consideration accessibility for the 3-axis CNC tool head. The tessellation process is then applied based on the thickness and stepover values mapped to each tool. The resulting pattern was, again, programmed as a customized tool path in the Power Mill software.
Through the machining process we, therefore, speculate on digital craft outcomes function of embedding memory of data mapping and fabrication processes into the final product. The Strange Wall presents research conducted in the customization of CNC tool paths to generate complex surface texture as a deductive process.
The machining of the artifact becomes apparent in the unique surface texture that is generated, in this way, developing emergent patterns from the manufacturing processes. The unique surface tessellation and normal data are successfully represented with ornamental quality. The inherent double entendre of ornament as both having function and affect calls for an open ended dialogue on the untrivialization of the practice and anticipates larger forms of interaction between the inhabited and the uninhabitable in the Anthropocene.