Grasshopper (Prj 3)

Desired surface notes:

Process 1

Process 2

Process 3

Process 4

Process 1.0

Process 2.0

Process 3.0

Extrude Surface Along Vector

Extrude Surface to a Point 1

Extrude Surface to a Point 2

Grasshopper

Tutorial hw attempts

Revisiting Animation of the Curve of the Camera Path

Wire frame animation of the curve of the camera path from Good Morning Vietnam. 

This first version was too wide for the playblast so it overlapped on itself. I decided to keep that video as well, mainly because I felt like it inadvertently added to the experience. Then I went back and adjusted it. Both versions are attached.

Wireframe (widescreen version)

Wireframe Animation

April Fools?

http://payamarchi.blogspot.com/2011/12/reading-between-lines-transparent.html?m=1

study models

Project 2: Good Morning Vietnam Camera Paths/Animation

Spatial and Temporal Sequence

final form process

 

Animating my camera curve:http://www.youtube.com/watch?v=g1AZJmDRIUc&feature=youtu.be

camera path process

After eliminating the ground plane I extruded a cube along the curve created by my camera path.

Then I began to morph the form that was created.

After our last class I, again, decided to revisit my methods. This time I duplicated my curved camera path and lofted the two curves to create a surface. I began to play with certain points along the surface, weaving my new camera path along the form I derived from my initial camera path.

tech connections: reading response

Between Surface and Substance

Eric's (at least I think it was!) response to this reading reminded me of our discussion in 411 (tech) today. Tech II flashback: We discussed shear moment diagrams and how we could design efficiently through mathematics, by actually considering why we study the moments through out a structure. Bringing the material back to our design oriented thoughts, Powell drew out an example of a shear moment diagram for a tall uniform structure. He then showed us how relevant these processes could be to design, if we used mathematics as a way to make our structures even more efficient.  Excuse the rough notes, but Powell enlightened us to the mathematical origins of Gustave Eiffel's design. I realize these are dated examples but consider the Washington Monument versus the Eiffel Tower. Towering symbols of significant importance...really just translations of the obelisk. But Gustave Eiffel uses mathematics to reconfigure his design. Out of context (it might be a stretch) but we can compare these design methods to replicating a precedent (Washington Monument) and furthering our design process by using technology to create forms (Eiffel Tower).

Thanks Eric (?) and this article for sparking this connection .

http://gellman670umd.blogspot.com/

Camera Cuts/Camera Paths

The foam is a rough representation of the curve of my camera path, with the town scene and other perspectives as the planar element of the paper, folded up and curving around the camera path: intersecting and effecting the visual representation of traveling along the camera path.

animation attempts

After developing my scene I went ahead with Ambrose's suggestion and got rid of the town context. Then I went back to the film clip and tried to adjust the vertexes of the camera path in the y direction based on the change in camera level in relation to the runners. I then tired to make an inhabitable space around my camera path so that the experience simulates being engulfed within the wave as you ride it. But I'm still working with the video settings as well as the camera as it travels along the curve. 

The same camera path, after initial transformations.

Footage Analysis/Process

Digital Design: Camera Obscura

Wired magazine had an article about one of the buildings being analyzed in our 401 studio.


"The camera obscura is the first building to be 100 percent digitally designed and computer fabricated, SHoP's partners say. "

http://www.wired.com/wired/archive/12.11/gehry.html

Inchoate

Inchoate: Incomplete and imperfect circumstances…

Architecture’s unified and stable conditions make the notion of inchoate seem irrelevant.

It seeks to unravel…"the undoing of fixed categories.

One faces a split condition of understanding the norm and shattering foundational presumptions.

Teaching architecture remains dynamic and changing…displaying an acceptance of architecture’s unsettled condition...the difficulty in teaching architecture comes from the strategic and sequential nature of teaching that usually progresses from a point of origin. Architecture sits on un-secure grounds.

"Primacy of visual appearances, asserting the value of the final object’s formal presence has been traditionally considered paramount in the formation of architecture. Primacy of authorship, asserting the existence of a creator architect, has been commonly considered a essential act of architecture.The primacy of the object, asserting the presence of the work in its pristine condition, has been conventionally perceived as architecture’s final end in itself."

Like film, architecture can be questioned as an ambiguous construction, an open ended condition with plural interpretations.

Reading Reflection 2/14

I think the notion of the constraint of an idea verses the potential of a process is a phenomena that we can continuously experience in the studio world instead of being confined by the specifics of our imagination we can thoroughly explore the full potential in multiple directions. The other readings bring the potential of the design process and its results to the development of culture.

Our understanding of architecture has become so conceptual...constantly encompassing more than simple the process of building structures.

F-35

Folds, Bodies, & Blobs/Warped Space

Descriptive geometries provide a concrete foundation of platonic forms and understandings that go on to create a underlying language of architecture. Even when the progression through space and the intent that governed its sequence are ambiguous, there is an order that is rooted in this universal understanding. But when we converse in the written language that describes our built environment we run into the deception of writing. A further ambiguity that is arguably too deceiving for pure forms. Therefore, where form meets language we run the risk of sacrificing one for the other. This conflict takes us from the first article to the second, opening a conversation that has also began in our studio sections. There we discussed the notions of space. It was necessary to further explore the relationship between space and shape, a relationship which creates a condition linked through geometries. The larger question coming back to whether or not the distinguished shape formulating a space could be written in words. The intellectual realm of architecture bleeds across disciplines, connecting our understanding of sequence and space to philosophy and psychology. The opens a dialogue that has the potential to deepen the thought processes we battle with in design. But how we re-present what we produce may well be too much for words.