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exercise sept w.3

The mesh came out a little different than the maternity of the 3d object. The figure itself was irregular and the dot-cloud could not account for the spaces that were difficult to read. Therefore the mesh has an aqueous draping quality. I wanted to represent it based off of the texture that the material was reading. To me, this appeared to be dripping water as if the figure was emerging from something. This is why I chose to represent it as a figure emerging out of a viscous metallic solution. However, it looked more pink than copper. I think that this tool is so incredibly helpful. Being able to take a 3d model or a figure to translate it into a mesh for rhino will come very much in handy when UG3 and Wallenburg studios arrive to create dynamic artifacts and perspectives.

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exercise sept w.2

After much back and forth in attempting to complete the assignment. I was finally able to cut the shape. Cleaning up the file along with Asa was difficult as it warped from the original form that the Grasshopper had predicted. However, I am not disappointed with the finished product. In taking into consideration the order in which the wire cut, I could have simply placed the curves on different layers to achieve the figure that I was intending. This is a really interesting too in fabricating diverse forms that one could not cut as easily by hand on a manual machine, however much care should be placed into the direct details to which the form is cut. Each decision should be taken into consideration the more complex a form becomes. The figure I crafted dealt with many curved lines to create a swooping figure that had a sense of motion to it. I chose to bind them together to fragment this motion as one takes a picture of a moving object. Mid-moment.

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Exercise Sechs W.2

In collaboration with Mark, Aileen and Matt. The final group curve!

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picon

In Cybernetics in Architecture and Planning, Picon elaborates on the history of the integration of computer aided technologies and the theories behind the integration thereof. According to Picon, what unites the natural world with cybernetics is a system of patterns. Much like in any niche of the natural world, whether that be the water cycle or morning traffic, life is consisted of patterns, which can usually be observable to humans. Post WWII architects were charged with answering questions and solving problems at both the domestic and urban level. It was the wartime/cold-war turbulence that pushed corporations and architects alike to utilize systematic urban planning. These computer-based patterned approaches to urban-planning proved that cybernetics could not be the solution. There are too many variables and accommodations for singular and communal needs with a complexity that could not simply be plugged into a 1 size fits all. This not only showed the importance of the middle ground between the digital and human world, but that this middle ground would have to be the designer who has the capabilities and awareness of the situations that cannot be reduced to numbers and algorithms. The responsibility of the designer becomes even more paramount as they are charged with creating a holistic urban environment that shapes the social interactions of humans. This yields the question of what environments are we as humans being conformed to.

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lynn

Lynn introduces topics and motifs that illustrate the many aspects of an architectural motion vis a vis computer aided design. Through mathematical equations, it shows how these technologies can seamlessly animate. What I found interesting was how designers may not have to use equations in drafting a project, but having a grasp on how the equations affect the linework allows us to comprehend what we are doing at the functional level thus allowing for better manipulation of the finished product. This understanding can be fundamental of the middle ground between the coding and the interface while being able to think critically about the machine itself. The architecture theory no longer needs to reside in the plane of statics, but rather it can frolic in the realm of the animated. Having an understanding of this notion allows a more versatile designer to develop their craft.

Exercise Sept W.1

Creating shape that was a completed shape was challenging at first. Crafting that minimal figure into something that was interesting to be more time consuming that difficult. I had my initial setbacks in trying to understand how the lines cut into the square and molded a figure. My first shapes were either too complicated or not possible to cut with the machine. After iterations, however, I was able to agree on three examples that could satisfy the assignment.

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Exercise: Fünf W.2

The premise for this addition to the project was to challenge the perception of depth vis a vis color and the contour lines. The middle figure shares the same grid pattern and color as the primary surface. It is, however, situated deeper into the plane than the surface as it lies between two primary figures separated by color and different depths. The pain seeps onto the edges where a cut is made to give to the illusion that the figure extends far beyond its border. The shape was originally found through the suggested paintings, drawn and manipulated in Rhino, and then put into MasterCam. A problem arose, however, when previous geometries from the demo file were found. In the final cut out it turned out just fine. We started early enough to give time for painting it in a way that conveys our premise while not sacrificing craft. In all, it was an adequate exercise that did not garner much stress.

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Exercise Fünf W.1

Taken from an example painting on file, I wanted to investigate an intrusion upon another figure. Unknowingly I discovered that this creates a much familiar icon. The exercise was one that was doable and if crafted well with time to do so, it could garner dynamic levels of depth and/or movement. I used the color pallet swatches in Illustrator to find hues that were matching with a base color that I liked to reveal a sense of depth and motion.

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menges + carpo

“To return to the genetic algorithm: if evolved architecture structures are to enjoy the same degree of combinational productivity as biological ones, they must also begin with an adequate diagram, an ‘abstract building,’ corresponding to the ‘abstract vertebrate.”

What I found most interesting is the extended metaphor from which Delanda uses throughout the piece. Delanda marries the biological world with the digital, a union that is usually not found is the discourse of computation. When speaking on computation and computer programs, one usually uses cold technical language, one that synonymizes with a life-less machine powered by electricity and codes. To then flip the narrative on how one discusses this only helps to solidify the purpose of Delanda’s thesis. I could deffinilty understand the direction at which Delanda was progressing through the piece. Using language like genetic and biological adds a human aspect to a dimension that is generally viewed a absent thereof. It allows the ready to further connect to argument ,ergo the machine.

computation design thinking - ahlquist + menges

“So what is computation, then? In relation to design, computation is the processing of information and interactions between elements which constitute a specific environment, the pivotal word being interactions.”

The focus that I found the most captivating was the author’s definition of the word computation in regards to design. I believe that the authors were trying to relay that computation give agency, a way of manipulating a system of which something is derived. Computation is truly a larger umbrella term and understanding how the evolution of the user and the computers themselves have evolved is a great starting point in figuring out what computation is. There is an anxiety, a super ambiguity in how one defines control. It calls to question is control really just skill and/knowledge of computation. How much control does one have versus how much is already predetermined? These questions are all apart of the gross definition of computation.

construction with lines: on projection - allen

“Axonometric, because it could transmit abstract information, and because it was measurable and precise, was the ideal tool to delineate the avant-garde vision of a new world. Perspective records what already exists, whereas axonometric constructs that which does not yet exist.”

What intrigued me most about this quote is how Allen illustrates the benefit of axonometric drawings, its allure, and the cultural shift that its creation impressed. Perspective has always been able to transmit abstract information that was attractive to artists and their patrons. However, perspective is somewhat limited to the vision of the singular or those who are creating it from. Axonometric drawings, however forces the imagination to confront what is there and what should be there based upon principle and discipline. It allows the artist to construct not what doesn’t exist, but what is not yet visible. It allows full transparency and the ability to portray a level of abstraction that a model might be missing or a perspective cannot capture due to its point of view.

Exercise Vier W.1

Exercise Vier: Volumetric Assembly

This was an interesting exercise. I knew that we were supposed to find a group, however, I did not find one in time. Therefor I did the process on my own, which was not difficult, but working the Zund by myself will never be an activity that I endorse. I was fortunate enough to follow someone doing the same project, therefore I did not have to change any of the settings and continue with the steps that I was already familiar with. I am pretty satisfied with the outcome and would I have the chance to do it over, I would want to dramatics the shape even more.

Exercise Drei: LaCroix Coconut

Exercise 3 was interesting yet challenging at the same time. It was challenging to not only compose a geometry that was compelling, but also a color sequence that complimented each other. Operating Grasshopper this time around was much more compatible than my first take at it. I felt more comfortable however I did have my troubles. When going along in class, I was missing a few steps and did not realize until the end. When comparing with the images on Canvas, I found it difficult to figure out where I messed up specifically. I finally restarted the thread from scratch and figured out where I had not a step correctly or fully. The color spectrum took the second longest, but that’s because I can spend hours meticulously finding the right hue for a color or a mood. For the color inspiration of this composition, I used an old tactic that I had for other creative projects in the past inspired by a makeup challenge from online. LaCroix cans are infamous for their creative use of vibrant color mashups. I went can-hunting and found a compelling flavor and used the adobe color wheel to match the hues to order, change, and find a matching gradient to. The final problem that I believe all students encountered, was uploading the link. One student figured out a way to do so, which was compressing the original Gif undressing its quality. However, posted in a link below is the Imgur link that has the full great quality of the Gif. In all it was a really fun exercise.

Imgur Link: https://imgur.com/a/YxOGM

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Architecture Modeling Après Descartes

Jane Bury discusses the shift from using classical styled geometries in architecture to modern ones fueled and aided by technology. She relays to the reader that Architectural design and modelling has switched its focus from object representations of design resolution to constructing the design as a system for interrogation. I found this shift to be an interesting observation o the dialogue of architectural design. The 20th century was the age of a transitionary period f in which language, art, architecture, and the such saw ore progression than the past 3 centuries combined. It only makes sense that this tension in such a rapidly evolving climate that poses some new and explicit spatial challenges for working in much more complex design model spaces that the new age birthed. I think that the author trues to provide clues, rather than a conclusion to the questions that she raised throughout the piece. This is because these questions have answers that cannot be figured out neatly in 21 pages, but rather need years or discussion, trial, and error to formulate a new geometry that follows the rules of its organic evolution.

Using GH for the first time was a little challenging. I always have personal trouble with reading directions from sheets of paper, however, once I became more familiar with the program, it was much easier to navigate. I can definitely see how this program could help with complex geometries and time management once one becomes more of a novice at the program. I wanted to make something that reveals a sense of motion, movement. The black and white sheets offset each other augmenting this motion more clearly. The frame was designed to give the geometries a boundaries but also relay a sense of suspension.

otl aicher analogous and digital

“Man needs a sense of proportion. His existence, his subjectivity and his person are built on assessment.”

Like fashion alike, architecture and human cognition does call for a balance in proportions”. The digital revolution has allowed humans to operate on the most specific of realms analogies. One can feel the anxiety of the author as he recognizes the changes in human analogy and behavior dawning a new digital age. One has to question the level at which we, as human, have become more digital. Aicher noticed these changes in 1976 prior to any apple product or cell phone thrusting us into a new era. While we have become much more dependent on these aides, it cannot be disregarded the difference in our processing versus that of a computer. We have been thinking in the format of pictures and symbols long before the 20th century. It is the uniqueness of our ability to contextualize our thoughts and draw comparisons to garner a conclusion. These digital cognitive machines, which can process calculations instantaneously, are simply aides. We must not allow the aides to obsolete the analogous thinking that has allowed us to envelope to our current state. In the same regard to architecture, one must approach a premise or design concept analogously and natural allowing complex programs to guide our thoughts and concepts rather than dictate them. Precision is craft. Precision is key. It is not, however, always the right answer. There are circumstances that sometimes call for a generalization and contextual input that could only come from a human mind.

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