Rhino/Grasshopper Model In Motion

Here's a video showing how the surface changes even if you move the original curves that made the loft as well as how the slider tool affects the triangulations on the surface.

Grasshopper Model

Red and green triangles show completed triangulated mesh

The first set of triangulated surfaces in red

Vertices extracted and the grasshopper file was set to control each 4 vertices as a set of two triangles

Vertices from every corner were brought out

This images shows the lofted surface divided into smaller surfaces that would eventually be triangulated

I attached a slider so that later on I could control the accuracy of the lofted mesh

In this image I did a simple loft in grasshopper using two curves

Surface/Model images

These are my surface images coming from my animation. The model is essentially a u-shaped form that was rotated and translated to produce a duplicated frame. Movement through the model would be kind of like a roller coaster. The model is intended to represent the rotation in the direction of movement as the car being driven in the clip changed directions 13 times in a minute. Towards the end and beginning of the helix the individual forms seem to be clustered together which is in coorelation with camera angles in the movie clip. In the middle the forms seem to be further apart and in clip the number of camera angles slows down.

Between Surface and Substance

The article was concerned with form and materiality as a superficial condition and tectonic substantiation. The superficial is concerned with styles of architecture such as neoclassical, or gothic. Tectonic substantiation refers to a material being true to its form or structural capabilities such as a fabric being in tension and expressing its capabilities.

Mark Burry discussed the notion that educating architects to conform to any particular style reduces the art of composition and narrows the encyclopedia of potential knowledge. The study of digital models is a context in which materiality and structural capabilities become irrelevant. The style based designs of architectural history is being questioned and architects should seek solutions beyond superficial qualities of form. Mathematics can be seen as the bridge between formal qualities in art and architecture.

Gaudi and the Sagrada Nave Roof: The roof form was generated using mathematically predictable parabolas which allow for the simplicity of the design to appear as a complex second order. Exterior and interior must be treated as a different condition so neither side can express true geometries.

Paramorphs: Parametric design as a collaborative tool. Paramorphs are forms that have consistent topology but unstable topography. Projects have revealed interesting cyber-real implications from the interior to exterior paramorphs. As physical mockups the self -intersections proved to fail as interesting as they were as digital mockups.

Non Euclidean Perplications: talks about cross foldings between complex repetitions. It is the visualization of concurrent ideas that appear to be the same yet different at the same time. As ideas mature over time, they can be re-represented as "snapshots" that develop a theme. Our thoughts are not always linear, but rather ones that form a landscape of turmoil where subconscious and conscious desires and ideals interweave

NonEuclidean Hyposurface: The use of technology to design a wall. Surfaces that act as a living nervous system in a sense that they move and react to a stimulator. Surfaces can be skins that experience a variety of conditions that range from flexed, tautness, bent, curved or folded.

Vigorous Environments

Vigorous Environments by Michael Hensel and Kivi Sotama

Ocean North's design philosophy stems from the idea that structure should no longer be a static material object but rather formations that orchestrate programmatic relationships throughout the day.

They see the environment as a dynamically unfolding generative field and suggest a primacy of process over events, of relationships over entities, and development over structure. There aims to be a relational dynamics between material form, ambient conditions and social arrangements.

To which degree can design control be suspended? The role of control must shift from generating stable alignments and relationships between elements to regulation of generative processes which are in exchanging the dynamics of the environment

How can relational dynamics be regulated without inflexible forms of hard control? The traditional process of hypothesis-analysis-synthesis is eroded, ongoing analysis must inform intervention in exchanges with the environment

How can evolving environments produce responsive conditions and synergetic effects? We must reposition the role of technology as a facilitator of transformative processes. A two-way transfer of information establishes a precondition for synergy and feeback.

 Interactivity requires concepts, methods, and mechanisms for establishing dynamic feedback relations between subject and milieu.The main question is what types of phenomena and mechanisms of exchange  catalyse feedback relations.

Project 2a-Animation

This first image is an aerial of my model for the animation. I was using the shootout scene in inception. The larger blocks on the outsides represent the buildings in the city and the smaller blocks in the middle represent cars and traffic.

Procedural Sequence 2

The bottom image here is a quick analysis I did of the taxi cab in the scene and its movement. The cab was moving in both forward directions and reverse directions and I was wanted to see what a mapping of its movement would look like. The red indicated collisions with another car. In the above timeline there is a mapping of both the taxi cab and the other car cobb was driving throughout the scene. The solid line represent the taxi and the dashed line represents cobb's car. Any upward sloping line represents the car accelerating and downward sloping represents slowing down. The colors represent direction of travel so the dark blue is forward travel and light blue is reverse travel.

After watching the scene 20 times I fully realized how many different camera angles were needed to make the scene work. So the forward backward movement in a scene less than 2 minutes long required 18 changes in car speed, 11 changes in car direction and 71 camera angle