The final board illustrates the potential surface iterations that the model can produce given the truncated constraints. The difference between the elevation and perspective of the model lend unique vantage points of a singular model.
Monday, May 14, 2012
Project_03_Final_Board
The final board illustrates the potential surface iterations that the model can produce given the truncated constraints. The difference between the elevation and perspective of the model lend unique vantage points of a singular model.
Project_03_Diagram
The arrangement of the model is focused upon a circular loop, which is mediated by an integer slider.
Project_03_Final_Video
The attached videos depict the surface iterations of a plane relative to a circular rotation of an extruded grid. When perceived from an elevation, the cleverness of the model is reduced to a dynamic perspective that seems more architectural than the perspective view port.
Tuesday, April 10, 2012
Sunday, April 8, 2012
Tuesday, April 3, 2012
Vigorous_Environments
This article was well conceived, in my opinion, as it poses a question that lacks an answer, rather than pompously proposing the absolute solution to a problem. I'm not a contrarian, I'm more of an anarchist, and those who tend to believe they hold the answers are those I aim to defile. I believe that design is an iterative process, and that buildings pose opportunities for architects to test theories within the physical realm.
The authors' presentation of the approach, guidelines and goals allows for a discourse to emerge where designers can test ideas within the physical constructs of the urban realm, and didactically decide upon the direction of a particular period relative to the wants and demands of the populace.
This is 425 Massachusetts Avenue in Washington, D.C. A good friend of mine in the planning office was instrumental in the development of this buildings' facade, as it was thought that a continuous facade would be too overbearing, it was proposed that two distinct facades would be constructed in order to decrease the scale of the street wall. As it turns out, this individual in the planning office just happens to live directly across the street from this building, as has had the chance to critique her decision over many years. As it turns out, the decision is regrettable, as the final product appears disjointed, and does little to decrease the imposing nature of the facade.
The authors' presentation of the approach, guidelines and goals allows for a discourse to emerge where designers can test ideas within the physical constructs of the urban realm, and didactically decide upon the direction of a particular period relative to the wants and demands of the populace.
Between_Surface_and_Substance
No. I don't agree. I won't write a review of this, since there is little to be reviewed. The tactics that are discussed are of a flailing interest to me, as they seemingly lack the rigor in order to be adapted to the macro scale of the built environment. That's not to say that any of the methods or theories mentioned in the article aren't plausible as architectural forms, but I would argue that they aren't important enough to be studied at the academic level. More and more, the vernacular and visualization of the digital practitioners seem to be the masturbatory habits of those obsessed with digital games.
As mentioned in the essay, the "Truth to materials," comment leads to a debate over the final application of digitally conceived design schemes, as examined by the Burry in the article. When a hyperbolic surface is construed utilizing oblique geometries, the shape tends to be alluring to the designer, but the image doesn't really truly convey the massing, but simply presents a planar rendering as a visualization. When true extrusions of constructed surfaces are forged, the integrity of such surfaces may be complicated by the adaptation of structural supports, insulation, lighting, and other systems that need to integrated into the building components.
I've yet to see a digitally designed project that I find to celebrate the elegance of the medium, and instead highly gestural buildings conceived via a machine, and built by human hands have yet to bridge the liminality of the artificial purity that can be captured on the computer screen.
As a final note, Mr. Burry mentions one highly intellectualized phrase in this piece, which reads as follows. "It is the visualization concurrent ideas that appear to be the same yet different at the same time." In the context of the article, this notion may be founded in the principles of modern art, but it's application is justified relative to the development of a digital language. I would argue that greater analysis of the modern pieces of Picasso, Braque, Oldenburg and Lichtenstein could lead to a development of an architectural language that could be composed of a series of pieces that seamlessly integrate in order to forge a magnanimous typology, which could utilize the digital realm in the production of the design, but not it's initial realization.
As mentioned in the essay, the "Truth to materials," comment leads to a debate over the final application of digitally conceived design schemes, as examined by the Burry in the article. When a hyperbolic surface is construed utilizing oblique geometries, the shape tends to be alluring to the designer, but the image doesn't really truly convey the massing, but simply presents a planar rendering as a visualization. When true extrusions of constructed surfaces are forged, the integrity of such surfaces may be complicated by the adaptation of structural supports, insulation, lighting, and other systems that need to integrated into the building components.
As a final note, Mr. Burry mentions one highly intellectualized phrase in this piece, which reads as follows. "It is the visualization concurrent ideas that appear to be the same yet different at the same time." In the context of the article, this notion may be founded in the principles of modern art, but it's application is justified relative to the development of a digital language. I would argue that greater analysis of the modern pieces of Picasso, Braque, Oldenburg and Lichtenstein could lead to a development of an architectural language that could be composed of a series of pieces that seamlessly integrate in order to forge a magnanimous typology, which could utilize the digital realm in the production of the design, but not it's initial realization.
Monday, April 2, 2012
Recombinant_Sequence_Model
Recombinant_Sequence_Digital_Model
The Digital model illustrates the dichotomy that existing between the multiple systems at work within the frame. The intersections and fluctuations between the systems provides liminal moments that are capable of being dissected didactically.
Recombinant_Sequence_Vector
The mapping of staggered movement along an unforeseen path distributes motion through a series of undulations, while maintaining the ordered profile of the figure.
Later iterations mapped the intersection of the viewer with along the path of the actor, while instituting the symbiotic chaos through visual distortion.
What time is it?
Sunday, March 11, 2012
I_Hate_Greg_Lynn
Greg Lynn examines in the
article the primary differences between motion and animation, as well as the
applicability of this technique to contemporary architectural design
strategies. Lynn dissects motion as consisting of a movements and actions in
the real world, while an animation is capable of conjuring notions of movement
through a series of still images. This primal concept is then studied compared
to the nature of architectural design, where architects utilize static mediums
in order to forge space, although we rarely existing within a completely static
environment according to Lynn.
My contention with Lynn’s ideology is compounded by his overt contempt for the status quo, and his lack of well-articulated conceived spaces within his own practice as precedent for his theorem. The notion that animative sequencing could somehow reinvigorate an architects’ desire to create a dynamically charged space is humorous, as examples such as the Champs de Elysees in Paris, or Istiklal Street in Istanbul were envisioned and graphically proposed prior to the advent of the digital medium in the architectural profession. Those streetscapes in particular forge tightly knit dynamic spaces through the adaptation of continuous street walls, ground floor retail activity and wide pedestrian avenues supported by mass transit. Proper urban design techniques are the way to forge dynamic urban spaces, not the sequential mapping of a Nintendo video game.
My contention with Lynn’s ideology is compounded by his overt contempt for the status quo, and his lack of well-articulated conceived spaces within his own practice as precedent for his theorem. The notion that animative sequencing could somehow reinvigorate an architects’ desire to create a dynamically charged space is humorous, as examples such as the Champs de Elysees in Paris, or Istiklal Street in Istanbul were envisioned and graphically proposed prior to the advent of the digital medium in the architectural profession. Those streetscapes in particular forge tightly knit dynamic spaces through the adaptation of continuous street walls, ground floor retail activity and wide pedestrian avenues supported by mass transit. Proper urban design techniques are the way to forge dynamic urban spaces, not the sequential mapping of a Nintendo video game.
Tuesday, February 28, 2012
Sunday, February 19, 2012
Friday, February 17, 2012
Sunday, February 12, 2012
Contemporary Techniques in Architecture by Ali Rahim
Ali Rahim makes the argument from his point of view that contemporary architecture is capable of existing in a symbiotic relationship with the user through multi dimensional programmatic applications of it's usable space. In order to develop a refined solution at the construction phase of the design process, an iterative series of events must take place that studies the physical context, as well as the qualitative spectrum of human actions that could influence the space on a given occasion. He argues that while some in the profession may utilize digital means as a tool for greater efficiency, his personal paradigm is to harness the capabilities of digital technology in order to strength of the depth and adaptability of contracted designs to contemporary culture. He also argues that architecture can be a catalyst for altering the habits of the individuals who typically interact with the architecture through the modification of their typical behavior. This is achieved through the iterative process of manipulating the form of the building to adapt to the pressures that have been predetermined by the environment and the design team. The buildings' profile not only adapts to the human inhabitants, but also the flora and fauna that pose boundaries and opportunities for adaptive programming and building performance enhancement.
When reading this article, I was reminded of a principle presented by Lebbeus Woods in his book, "Envisioning Architecture," where he urges contemporary designers to expand their interests beyond that of architecture. Woods himself was keen on cybernetics, which can be understood through the expression of much of his work.
Neil Denari worked for Airbus after graduating from architecture school, and the time spent in the airline industry can be clearly read among the exterior detailing of his facades, wrapping skins, structural systems and inset glazing motifs.
I would suggest, after conducting a brief background search of Ali Rahim, that he allow his external interests beyond architecture to influence the projects he's apart of, since it's an unconvincing argument that we as architects have the pedagogy of an anthropologist, and should be "deciding" the path of those within generically programed spaced, meaning those spaces which aren't in need of overt circulation separation plans. (i.e. Airports, racetracks). Their seems to be an air of premature enlightenment concerning the manipulation of human order, which is masked by a remedial understanding of digital technology instead of a comprehensive study of human activity, which I might argue would he impossible to achieve. These types of design interventions seem to be more successful at the micro scale, such as in the work of Kram Weisshaar's Breeding Tables project. When working within the confines of a predetermined space that must reside within a larger entity, the constraints of the project can be simply rationalized, and the resulting product is then judged relative to the multitude of iterations that take place through the algorithmic medium.
When reading this article, I was reminded of a principle presented by Lebbeus Woods in his book, "Envisioning Architecture," where he urges contemporary designers to expand their interests beyond that of architecture. Woods himself was keen on cybernetics, which can be understood through the expression of much of his work.
Neil Denari worked for Airbus after graduating from architecture school, and the time spent in the airline industry can be clearly read among the exterior detailing of his facades, wrapping skins, structural systems and inset glazing motifs.
I would suggest, after conducting a brief background search of Ali Rahim, that he allow his external interests beyond architecture to influence the projects he's apart of, since it's an unconvincing argument that we as architects have the pedagogy of an anthropologist, and should be "deciding" the path of those within generically programed spaced, meaning those spaces which aren't in need of overt circulation separation plans. (i.e. Airports, racetracks). Their seems to be an air of premature enlightenment concerning the manipulation of human order, which is masked by a remedial understanding of digital technology instead of a comprehensive study of human activity, which I might argue would he impossible to achieve. These types of design interventions seem to be more successful at the micro scale, such as in the work of Kram Weisshaar's Breeding Tables project. When working within the confines of a predetermined space that must reside within a larger entity, the constraints of the project can be simply rationalized, and the resulting product is then judged relative to the multitude of iterations that take place through the algorithmic medium.
Constructed Morphology
When the series of panels are arranged in an overlapping arrangement, a screen emerges that allows pockets of light to pass through at the face of the undulations along the x axis. While the longitudinal profile alters relative to each individual panel, the side elevation reveals a homogeneous profile that provides a sense of continuity for the overall screen.
Saturday, February 11, 2012
Surface_Manipulation_Study
The study originates with a component of modeled object, and it's manipulated along its' perimeter by an exponent of 3 along the x, y and z axis. When placed within the grid matrix, the sequential disintegration of the recognizable car door leads to a panel that has doubled in scale, and contains multiple undulations along it's x axis. The wire frame highlights the alterations through the inscription upon the surface, which the massing conveys the newly forged depth of the panel.
When perceived from a perspective, the surfaces reveal the great depth that has been forged through the linear operation. When perceived from angular view port, the patterns appear to change in profile, thus insinuating the presence of a unique surface depending on the vantage point of the viewer, and their point in space.
Sunday, February 5, 2012
Warped Space by Anthony Vidler
In the excerpt from Warped Space, Anthony Vidler described two distinct scenarios and how each could be categorized as warped space. One such setting is depicted as a post apocalyptic world marred by scortched landscapes, and the other a Utopian world cluttured with sentimentality. Within the boundaries of the post apocalyptic society, which is inherently more descriptively interesting, the physical structure of society has been warped, leaving us with unexpected normalities of a future plagued by a Mad Max archetypal chaos. The other category of warped space is that of the symbolic Utopian society that adores the relics of the seemingly glorious past. Within this construct, space is not warped by physical means, but instead it is warped by the individuals who exist within the space. No catastrophic event has taken place, nor does the threat of such an event even exist. Instead, individuals blindly adhere to the established scenery, and qualify their own contemporary existence through the vestigial past.
Vidler makes the argument that warped space is based upon one's own perceptions, whether they be positive or negative. A negative mindset towards one's surroundings can be the catalyst for change within the physical construct, but the two forms of spatial warping would have two distinct results. Those who fall under the category of the, "Death Cube," would be inclined to perceive the world as debauched, and any positive action that is founded upon one's personal belief of the correct solution would ultimately be perceived as a narcissistic and self fulfilling. On the other hand, the Utopian perspective would follow a path based upon established traditions, where any new ideas would be challenged against a widely accepted precedent.
Vidler makes the argument that warped space is based upon one's own perceptions, whether they be positive or negative. A negative mindset towards one's surroundings can be the catalyst for change within the physical construct, but the two forms of spatial warping would have two distinct results. Those who fall under the category of the, "Death Cube," would be inclined to perceive the world as debauched, and any positive action that is founded upon one's personal belief of the correct solution would ultimately be perceived as a narcissistic and self fulfilling. On the other hand, the Utopian perspective would follow a path based upon established traditions, where any new ideas would be challenged against a widely accepted precedent.
Probable Geometries: The Architecture of Writing in Bodies by Greg Lynn
In the excerpt, Greg Lynn attempts to convey the notion that a corollary should existing between the architectural profession and the writing profession in order to strengthen the theoretical underpinnings of didactic strategies that dictate architectural design. He argues that writing more often than not tends to be anexact, whereas architecture is an exact science, limited by symmetry, geometry and ordering systems. According to Bataille and Hollier, if architects were to shed their preconceived notions of formal boundaries, fruitful endeavours into the explorations of, "Transgressive," components of design could yield enchanting results. Lynn goes on to dissect the nature of these transgressive elements, stating that while it may be difficult to diagram a blob at the macro scale, micro scale components could be capable of formal dissection through the use of descriptive geometry.
While Lynn seems to lack intrigue over the current state of formal design, I would argue his concepts are soulless and form based, which obsess over the object rather than the experience. When reading a novella from generations past, one can place themselves within the confines of 1960s England in the case of A Clockwork Orange, or The United States during the Cold War in the case of Harrison Burgeron. The understanding of these time sensitive settings plays just as important a role as the prose used by the author, which leads to certain pieces of literature becoming transcendental pieces of fiction that define a moment in history. The Arts and Crafts Museum in New York City successfully captures the motifs of its' namesake period in the exterior expression of its' facade, and it has since been heralded as a masterpiece by the architectural community. Zaha Hadid's foray into the digitalism realm has left use with muddled urban ensembles that reject the eons of cultural history that lay beneath her graded foundations, and instead of celebrating the individuals who will create the building, she instead celebrates the machine that creates the blobs. Her ostentatious designs remind a local populous that Zaha was here, but does little to reinforce the cultural heritage or site specific importance that a building should embody.
While Lynn seems to lack intrigue over the current state of formal design, I would argue his concepts are soulless and form based, which obsess over the object rather than the experience. When reading a novella from generations past, one can place themselves within the confines of 1960s England in the case of A Clockwork Orange, or The United States during the Cold War in the case of Harrison Burgeron. The understanding of these time sensitive settings plays just as important a role as the prose used by the author, which leads to certain pieces of literature becoming transcendental pieces of fiction that define a moment in history. The Arts and Crafts Museum in New York City successfully captures the motifs of its' namesake period in the exterior expression of its' facade, and it has since been heralded as a masterpiece by the architectural community. Zaha Hadid's foray into the digitalism realm has left use with muddled urban ensembles that reject the eons of cultural history that lay beneath her graded foundations, and instead of celebrating the individuals who will create the building, she instead celebrates the machine that creates the blobs. Her ostentatious designs remind a local populous that Zaha was here, but does little to reinforce the cultural heritage or site specific importance that a building should embody.
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