Recumbent Sequencing

 

Vigorous Environments

Contemplative Phrases | Posit Action

The following are excerpts from Hensel, Michael and Sotama, Kivi. “Vigorous Environments” Contemporary Techniques in Architecture - AD Vol. 72 No. 1. Ed. Ali Rahim. pages 34-42.  The idea is to gather provoking statements from the reading to create a pool or basis for a polemic for a discussion on digital conception to fabrication techniques. Comments are encouraged.

From the reading, the question I ask is : How can digital techniques and processes spur a revolution in the desgner / fabricator spectrum and what tools can/must the designer use to best utilize this position f rapid analyzation?

Surface Consiousness | Between Surface and Substance

Production and Fabrication are obstacles which must be surmounted in the transition from digital object to physical artifact.  The work of Mark Burry is at the forefront of that transition.  Burry proposes a quote by Saarinen in which he cautions architects not to "conform to any particular style as it reduces the art of composition to rule-based decision making, and at work , downgrades architects to informed copyists."

http://www.princeton.edu/main/news/archive/S22/33/11G69/index.xml?section=announcements

Candela ,  A double curved surface constructed of a grid of straight segments

While reading the Burry article this image of a Candela building floated through my mind.  How can the technique of constructing a curved surface be changed through use of digital methods?

It is interseting to note the suggestion that within fabrication lies the potential for substance, without it perhaps the work is mere image and lacks a certain meaning or truth within the surface. 

Recombinant Surfaces |  Temporal Ambiguities

The following images are of the reassembled artifact.  Within the artifact overlapping forms emerge to create tensile spatial zones.  The nested negatvie voids and positive geometry fuse to create a rich pallate of form and spate which speak to the temporal spatial overlap within the scene. The stratafied nature of the model creates a segmented rhythym, or temporal modulus in which the spatial (de) formations can be analyzed as part of a whole or a specefic segment in which a a space can be seen as an overlap of "key frames" of motion.

Spatial and Temporal Sequence : Part B

This image shows a subjective view of the emergent spatial sequence.  A framework of beginning can be seen by the closed parabolic edge.  The drama and duration of a charters movement is charted by a width of an individual surface amongst the whole.

 A more objective view of a spatial re-assemblage of the surface / scene.

Spatial and Temporal Sequence : Part A

Within Bergman's scene I was interested within the creation of depth through layering.  I formed a construct in which shadow and depth are interrelated.  From this framework of layering primal shapes movement could be interpolated through a series of thresholds.  These thresholds correlate to foreshadowing, key frames and intense shadow within the film segment.  

An assemblage of simple shapes create a binding framework of layers.

Deconstruction of movement through threshold combined with a re-assemblage of overlapping curves.  These curves suggest temporal movement in their overlap as well as pace, anticipation and movement of the character within the scene. 

2A.2 Animator Iterations

These short animations represent a few more work throughs of EIAS.    Throughout the experience the interface has become much easier to operate and the navigation of the tools is working more effeciently.  I hope to project one more video before tuesdays class.