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

Procedural Sequence 1

These are images from the inception shooting scene that I chose to analyze. These images take a look at the way objects of interest are framed in certain views. I noticed that almost all pints of emphasis were either in direct center of the frame or slightly off center. There was never a point of emphasis on the edge of the frame. These studies helped me in analyzing camera angles and movement through the scene by the vehicles.

Compound Geometries

These two images illustrate compound geometries created using the inside of a wheel rim. I took the inner portion where the bolts usually are and inverted or mirrored them back to back. Then repeated that volume to create a strip or "bar" form.

Inchoate: An Experiment in Architectural Education

Architecture has been dominated by three concepts: visual appearance (stylistic, typological, spatial), authorship (a creator architect, a personal signature), and primacy of the object (the existence of the object in pristine condition). Marc Angelil seeks to take the concept of inchoate and utilize that as a method of designing.

Angelil suggest that modern method of teaching starts at an origin and moves towards a higher point in a very linear, dictated fashion. He feels that this method of learning creates disciplinary boundaries limits the full extent of knowledge people can have. He proposes an idea whereby teaching occurs from outside the discipline at study and knowledge moves inwards towards the circle, instead of linearly outward. This allows for teaching and learning to "constitute acts of trangression, interrogation from both within and without". The end result of this method being that architects are learning and working out of their comfort zone in an area where there is no "secure basis in terms of form and content". Allowing them the opportunity to experiment and develop ideas not possible in a linear learning pattern.

Ali Rahim "Potential Performative Effects"

Ali Rahim discusses how contemporary design techniques create for new effects that result in further cultural transformation that previous techniques could not accomplish. This is done through a feedback loop that are temporal process-driven methods that produce new effects in cultural, political and social production. Rahim emphasizes that techniques have always contributed to human production but it has been refined and accelerated after the industrial revolution.

Rahim states that the path of evolution that a building, company, or career produces a lineage which can be political, social, commercial, scientific etc. These lineages produce an effect in our culture and then are transmitted to other cultures as memes. Memes can either be hereditary when details and forms are copied, variation in which behavior is copied with errors, or selection in which only some behaviors are copied.

I think the analogy of the computer serves as a good example of technology being immersed in its cultural context and having qualitative effects. The computer was created as a result of contribution from scholars, philosophers, mathematicians etc. and its creation was stimulated over time by a shared vision. Everyone shared different economic, commercial, political and scientific pressure and eventually a new technology emerged as the computer. The computer as an object in a “vacuum” would merely be “linear and casual” with no formal expression. When viewed in its cultural context, we realize the technology can produce effects that are larger that originally anticipated. The internet was created for military purposes, but now is the largest holder of data anywhere in the world. The analogy serves to illustrate how to fully maximize potential provided by contemporary techniques

Assignment 2_The Matrix _Wheel Spokes

Anthony Vidler- Skin and Bones

Vidler has introduced the idea of folds as more than just bending planes to create spaces and objects. He discusses folding through theorists and concepts with the first one being a house designed by Gilles Deleuze called "Le maison baroque". The house contains a lower portion and an upper portion in which there are 5 openings that allow for "emanations" from below. The upper portion represents the head and the lower portion represents the body. The 5 openings represent the senses and the concept illustrates how the head and body are connected through the senses. The curtain is what receives the imagery which is alluded to as a "Camera".

These two images are surface renderings of a Nissan GT-R. The top image is a view of the interior volume placed against the precedent images. The bottom image is an exterior surface rendering that seeks to display the massing of the car. I included wireframe to place an emphasis on how the contours curve and widen when the original rectangular plane is twisted into a different direction