Here is the new, slightly scarier...darker...version
Tuesday, February 26, 2008
Monday, February 25, 2008
Architecture Representation and the Perspective Hinge
Translation vs. Transcription
Architectural profession still hesitant to apply transparency and different means for representation even though artists etc have been using collage, etc. for years…
Drawings as reflection of precision for need for unambiguous representation of ideas…
Attempt to probe the possibilities of building architecture as a poetic translation, not a prosaic transcription, of its representations.
Architectural Meaning and the Tools of the Architect
Fascinating fact that many things like gothic cathedrals were built without many architectural drawings…
Act of construction to now simply representing through drawing (architecture)
Theories of Vision and the Reciprocity between Seeing and Being Seen
This first statement reminded me of the sidewalk chalk guy…
http://gprime.net/images/sidewalkchalkguy/
Impact of light in humans perceiving things and its geometrical properties…
And its transparent nature
From Architectural Perspective to Artificial Construction
God centered perspective leads to things like centralized churches, where views are all roughly the same…technically centered perspectives lead to nicely constructed architectural views of buildings that are not centered.
Renaissance formation of this type of drawing revolutionary
Again mathematics based
I really like the visual image and idea of light being emitted from the eyes and thereby creating the views we see
Optical correction amazing idea for building construction for buildings to appear vertical when in fact they are off to shift our perceived notion of them. Things like the entasis in the steps of the Parthenon, etc…this shows how a constructed view of things are extremely important in architectural representation.
Interesting notion that original perspectives were created with help of things like receding lines in floor patterns and regular, architectural linearity, this probably led to a preconceived notion to how ‘correct’ perspective drawings should look and has probably shaped the pedagogy architecture because of it…
All of this section keeps bringing to my mind the importance of framing views and constructing well crafted images to get your ideas across or to capture a special vantage point for any type of experience. Hence the project for this week of crafting and framing views in our first animation. This section was very interesting.
Architectural profession still hesitant to apply transparency and different means for representation even though artists etc have been using collage, etc. for years…
Drawings as reflection of precision for need for unambiguous representation of ideas…
Attempt to probe the possibilities of building architecture as a poetic translation, not a prosaic transcription, of its representations.
Architectural Meaning and the Tools of the Architect
Fascinating fact that many things like gothic cathedrals were built without many architectural drawings…
Act of construction to now simply representing through drawing (architecture)
Theories of Vision and the Reciprocity between Seeing and Being Seen
This first statement reminded me of the sidewalk chalk guy…
http://gprime.net/images/sidewalkchalkguy/
Impact of light in humans perceiving things and its geometrical properties…
And its transparent nature
From Architectural Perspective to Artificial Construction
God centered perspective leads to things like centralized churches, where views are all roughly the same…technically centered perspectives lead to nicely constructed architectural views of buildings that are not centered.
Renaissance formation of this type of drawing revolutionary
Again mathematics based
I really like the visual image and idea of light being emitted from the eyes and thereby creating the views we see
Optical correction amazing idea for building construction for buildings to appear vertical when in fact they are off to shift our perceived notion of them. Things like the entasis in the steps of the Parthenon, etc…this shows how a constructed view of things are extremely important in architectural representation.
Interesting notion that original perspectives were created with help of things like receding lines in floor patterns and regular, architectural linearity, this probably led to a preconceived notion to how ‘correct’ perspective drawings should look and has probably shaped the pedagogy architecture because of it…
All of this section keeps bringing to my mind the importance of framing views and constructing well crafted images to get your ideas across or to capture a special vantage point for any type of experience. Hence the project for this week of crafting and framing views in our first animation. This section was very interesting.
Drawing Building Text (Andrea Kahn, Editor: Princeton Architectural Press. Originally by Catherine Ingraham) A response…Lines and Linearity
_architecture depends on the orthogonality of lines, but even the orthogonality of intention, creativity, and intuition…
This is a very interesting statement which I would like to here some other opinions on. I feel that we are not bound by linearity in our creative thought process but more it is how we are trained to think from a young age, and how we are further trained in architecture schooling. It everything lines up, it will look better! Again, thinking out of this linearly composed ‘box’ is not normal and requires lots of training and rigorous study in alternative methods of thinking.
_pure geometrical ideality is “released from all sensible or imaginative intuitiveness.” Imagination is responsible for the “pure morphological type” and it “can transform sensible shapes only into other sensible shapes.”
I feel that this way of thinking is very much instilled in the minds of architects, and for that matter, everyone in our human society because of things like maps, gps, and our ability to schedule out every minute of every day. We attach to this idea of geometrical ideality and when combined with Cartesian intellectualism, we gravitate to know where, and when we are at any given time.
_pure geometry as an intellectual act…Once pure geometry becomes possible it is accessible only to the understanding of Cartesian intellectualism…
Refer to above statement…
_how can our understanding of the line and the idea of a line shift, if we are constantly bound by its nature of linearity…we cannot understand it because as soon as we try to veer off the path of the line, we return back to its natural linearity.
This was one of those confusing sections that took a while to grasp and still poses one of those great rhetorical statements that brings about endless thoughts and conversation and will eventually lead no where. Still though, it is very compelling.
_“...cicatrize (la) has multiple associations with the imposing of human pattern upon the disorder of nature: chunks of wood, the human face, and the forest are all ‘opened’ like the human eye, allowing the inner quality of the substance to shine forth.”
This was a great quote and provided a great visual to associate with this section of the reading. How would our society be different if we expressed our linearity by carving into our faces to express our methods of linearity.
_child using architectural prop to be suspended in space to see themselves in a mirror…
This is an interesting idea and one that could be used to tectonically explain structural expressiveness in architecture…we always feel the need to see the supporting elements, or at least have some idea of how something is held up…this may be why we feel uneasy with some modern examples when things like brick are hovering over glass, etc.
This is a very interesting statement which I would like to here some other opinions on. I feel that we are not bound by linearity in our creative thought process but more it is how we are trained to think from a young age, and how we are further trained in architecture schooling. It everything lines up, it will look better! Again, thinking out of this linearly composed ‘box’ is not normal and requires lots of training and rigorous study in alternative methods of thinking.
_pure geometrical ideality is “released from all sensible or imaginative intuitiveness.” Imagination is responsible for the “pure morphological type” and it “can transform sensible shapes only into other sensible shapes.”
I feel that this way of thinking is very much instilled in the minds of architects, and for that matter, everyone in our human society because of things like maps, gps, and our ability to schedule out every minute of every day. We attach to this idea of geometrical ideality and when combined with Cartesian intellectualism, we gravitate to know where, and when we are at any given time.
_pure geometry as an intellectual act…Once pure geometry becomes possible it is accessible only to the understanding of Cartesian intellectualism…
Refer to above statement…
_how can our understanding of the line and the idea of a line shift, if we are constantly bound by its nature of linearity…we cannot understand it because as soon as we try to veer off the path of the line, we return back to its natural linearity.
This was one of those confusing sections that took a while to grasp and still poses one of those great rhetorical statements that brings about endless thoughts and conversation and will eventually lead no where. Still though, it is very compelling.
_“...cicatrize (la) has multiple associations with the imposing of human pattern upon the disorder of nature: chunks of wood, the human face, and the forest are all ‘opened’ like the human eye, allowing the inner quality of the substance to shine forth.”
This was a great quote and provided a great visual to associate with this section of the reading. How would our society be different if we expressed our linearity by carving into our faces to express our methods of linearity.
_child using architectural prop to be suspended in space to see themselves in a mirror…
This is an interesting idea and one that could be used to tectonically explain structural expressiveness in architecture…we always feel the need to see the supporting elements, or at least have some idea of how something is held up…this may be why we feel uneasy with some modern examples when things like brick are hovering over glass, etc.
Architecture + Animation (Architectural Design)...A response
_questioning of a new fetishisation of surface imagery over substance in architectural design.
Valid
_architectural space is not focused upon because of the burden of the software in creating animation images, etc… time could be more spent creating and furthering the design of the space
Valid
_not sure I agree with hiring of photographer statement, vs. helicopter ride, etc…When one hires a person to photograph a building, the person does not necessarily hire a helicopter and fly around it…people are used to the one or two point perspective of perceiving buildings and other architectural imagery
I think both are now important, as 3d interpretation is becoming a requirement for new designs in the industry. We need the basic 2d/photograph type information to get the general idea, but the new 3d analysis and presentation can drastically help to inform a viewer about the ‘whole’ design. This may require more front end work, but will save time later in explaining corner conditions, etc…
_one point perspective allows for the viewer to imagine and discover implied space, etc…chaos comes from the actual helicopter view
Sometimes Valid
_“…one is irritated…by coagulating blobs, wispy cyberplasm and trains of text...traveling past…”
I am sometimes
_use of techno music questioned
This is interesting because one can see the point of a technological based soundtrack for technologically based medium, but I wonder why more classical music has not been implemented in architectural animation…
_belief or misconception that before a design goes into the computer it has to already be exact and precise, unlike hand drawings, which can convey to viewers an implied space that may not totally be worked out
Invalid…With courses that we have taken like 470 and 670, we know that this is not the case and the computer can…gasp…be used as an effective design tool
_animation to dilute the difference between one architect and another, personal touch is a critical marketing tool
Invalid…as we have seen, animation styles also vary by animator and the best ones create there own method of animation and experimentation for the use of their respective digital media…
Valid
_architectural space is not focused upon because of the burden of the software in creating animation images, etc… time could be more spent creating and furthering the design of the space
Valid
_not sure I agree with hiring of photographer statement, vs. helicopter ride, etc…When one hires a person to photograph a building, the person does not necessarily hire a helicopter and fly around it…people are used to the one or two point perspective of perceiving buildings and other architectural imagery
I think both are now important, as 3d interpretation is becoming a requirement for new designs in the industry. We need the basic 2d/photograph type information to get the general idea, but the new 3d analysis and presentation can drastically help to inform a viewer about the ‘whole’ design. This may require more front end work, but will save time later in explaining corner conditions, etc…
_one point perspective allows for the viewer to imagine and discover implied space, etc…chaos comes from the actual helicopter view
Sometimes Valid
_“…one is irritated…by coagulating blobs, wispy cyberplasm and trains of text...traveling past…”
I am sometimes
_use of techno music questioned
This is interesting because one can see the point of a technological based soundtrack for technologically based medium, but I wonder why more classical music has not been implemented in architectural animation…
_belief or misconception that before a design goes into the computer it has to already be exact and precise, unlike hand drawings, which can convey to viewers an implied space that may not totally be worked out
Invalid…With courses that we have taken like 470 and 670, we know that this is not the case and the computer can…gasp…be used as an effective design tool
_animation to dilute the difference between one architect and another, personal touch is a critical marketing tool
Invalid…as we have seen, animation styles also vary by animator and the best ones create there own method of animation and experimentation for the use of their respective digital media…
Monday, February 18, 2008
Monday, February 11, 2008
Horizontal Anaylsis Continued...
Here are those lines lofted together and superimposed. This diagram, I feel, represents well the rotation as well as linear progression of this type of motion.
Horizontal Analysis
Now I'm tring to anaylize this jumping motion in another method. Here is my horizontal line-frame analysis with the blue line representing my left side and the red, my right.
Buildings I referenced at the end of the last post...
Waterloo Terminal, London, Grimshaw Architects...
http://i1.trekearth.com/photos/27749/waterloo_station.jpg
Arcam Building, Netherlands, Renee Zuuk
http://www.renevanzuuk.nl/
http://i1.trekearth.com/photos/27749/waterloo_station.jpg
Arcam Building, Netherlands, Renee Zuuk
http://www.renevanzuuk.nl/
Skin and Bones…hey, I’m not that skinny…
This house of folds that describes one form of Vidler’s ‘Warped Space’ is a very interesting concept. From a similarly abstract concept in that a ‘fold’ in itself is a free form capable of forming space or wall or roof or all three. However, in actuality a fold can be a very specific entity containing mathematical principles and be ‘embodied in objects and spaces, and can divide and join at the same time.’ However the physical ability of a fold to create shapes and form space is truly a unique idea embedded in the heart of the modernist movement. I marvel at the discussion of folds occupying space and time. Can this be another method of architecture that can be used to imply movement? However, when a fold can create space and occupy space in time, we have a truly remarkable architecture.
The ‘Baroque House’ allegory is an interesting example of how one can relate the body and the mind. This figural representation of how physical interactions are transferred through ones senses to the mind or soul can be described thorough his description. Yet, in his house he shows a physical manifestation of the paths the senses take to the brain as being folded, almost curtain-like, pieces of cloth that are abstractly connected through the top of the first floor of the house, or the physical interactions of the body. This relates to the Baroque movement, in which scrolls and other curvy and folding decoration reign. This architecture of endless folds creates something interesting to base the new ‘fold’ upon and will lead to more discussion throughout this narration.
When actions from past and present interact in this room of folds, or paths of sensory impulses from interactions, there creates a sense of oscillation or vibration that occurs from the innate interaction of the folds that remain in the room. These outside forces acting on new impulses or hanging folds, relates back to animate form in that we can take into account vector forces and a constantly shifting contextual environment into our architecture. Later still, the reactions of the folds in the room from the new oscillations then creates new folds and new paths for interaction and oscillation. I can see where this cycle gets at the same time, highly interesting and exciting, while becoming far more complicated. The brain is complex in this fashion and should not are architecture be as well?
This Leibnizian fold which is in constant movement enveloping former folds, and creating new ones on the surface seems fascinating to me. If only architecture could capture this sense of movement and excitement. I think there are some examples that do…But then we could go back to the argument of architecture actually moving, which this fold seems to be doing in my mind, and the values of that, versus static architecture that implies movement and the value of that…Again, there are great examples of both. I for one LOVE Calatrava’s Milwaukee Art Museum, sadly enough I could not attend Forum this New Years. But anyway this idea of this type of fold is one of those ever shifting complicated symbolic conceptual ideas that can either take one to someplace great, or nowhere fast.
As for animistic architecture, I think mixing those forms originating in nature and combining them with mathematical concepts is a great idea. It just has to be done correctly, or not at all. The Ville Surrealiste sounds very interesting and coincidentally a mixing of these two aforementioned ideals. I wish I could find an image of such a thing as google is currently failing. And what more can one say about Lynn, as his work is surely contemporary and the most complete of its kind, as even Vidler notes. However, like most works of extraordinary minds, he points out that Lynn’s work is more often than not, misinterpreted and is actually highly formalized while appearing informal, something Lynn may have intended and again brings up the point of architects who fail when attempting emulation. ...reduplicative perspectivity – an interesting phrase to say the least…
This concept of the fold being both inside and out, creating space yet occupying space, etc. is great. I really can’t get enough of this idea and find it very fascinating, in case you couldn’t tell by reading this entire response/thesis summary of this reading…how many people actually read these in their entirety anyway? If you read this, please comment just to say you did, that would make me happier than when I’m thinking about these folds.
In summary, the entire time I was reading this article I kept thinking about a few cool buildings that I want to post. I feel that these buildings can relate to the idea of folds on the one hand, and implying movement on the other. This reading was another one that I think I got the gist of, but would probably benefit from a second reading at another time.
The ‘Baroque House’ allegory is an interesting example of how one can relate the body and the mind. This figural representation of how physical interactions are transferred through ones senses to the mind or soul can be described thorough his description. Yet, in his house he shows a physical manifestation of the paths the senses take to the brain as being folded, almost curtain-like, pieces of cloth that are abstractly connected through the top of the first floor of the house, or the physical interactions of the body. This relates to the Baroque movement, in which scrolls and other curvy and folding decoration reign. This architecture of endless folds creates something interesting to base the new ‘fold’ upon and will lead to more discussion throughout this narration.
When actions from past and present interact in this room of folds, or paths of sensory impulses from interactions, there creates a sense of oscillation or vibration that occurs from the innate interaction of the folds that remain in the room. These outside forces acting on new impulses or hanging folds, relates back to animate form in that we can take into account vector forces and a constantly shifting contextual environment into our architecture. Later still, the reactions of the folds in the room from the new oscillations then creates new folds and new paths for interaction and oscillation. I can see where this cycle gets at the same time, highly interesting and exciting, while becoming far more complicated. The brain is complex in this fashion and should not are architecture be as well?
This Leibnizian fold which is in constant movement enveloping former folds, and creating new ones on the surface seems fascinating to me. If only architecture could capture this sense of movement and excitement. I think there are some examples that do…But then we could go back to the argument of architecture actually moving, which this fold seems to be doing in my mind, and the values of that, versus static architecture that implies movement and the value of that…Again, there are great examples of both. I for one LOVE Calatrava’s Milwaukee Art Museum, sadly enough I could not attend Forum this New Years. But anyway this idea of this type of fold is one of those ever shifting complicated symbolic conceptual ideas that can either take one to someplace great, or nowhere fast.
As for animistic architecture, I think mixing those forms originating in nature and combining them with mathematical concepts is a great idea. It just has to be done correctly, or not at all. The Ville Surrealiste sounds very interesting and coincidentally a mixing of these two aforementioned ideals. I wish I could find an image of such a thing as google is currently failing. And what more can one say about Lynn, as his work is surely contemporary and the most complete of its kind, as even Vidler notes. However, like most works of extraordinary minds, he points out that Lynn’s work is more often than not, misinterpreted and is actually highly formalized while appearing informal, something Lynn may have intended and again brings up the point of architects who fail when attempting emulation. ...reduplicative perspectivity – an interesting phrase to say the least…
This concept of the fold being both inside and out, creating space yet occupying space, etc. is great. I really can’t get enough of this idea and find it very fascinating, in case you couldn’t tell by reading this entire response/thesis summary of this reading…how many people actually read these in their entirety anyway? If you read this, please comment just to say you did, that would make me happier than when I’m thinking about these folds.
In summary, the entire time I was reading this article I kept thinking about a few cool buildings that I want to post. I feel that these buildings can relate to the idea of folds on the one hand, and implying movement on the other. This reading was another one that I think I got the gist of, but would probably benefit from a second reading at another time.
Sunday, February 10, 2008
Um....yeaaaah
So...I've been messing around with AutoCad rendering, I haven't used this in a while...but I said, what the heck, so here's some lofted forms straight out of the program no one ever thinks to use to render...I mean, I usually don't...
Frame and Spline Breakdown
I am now working with these spline lines generated from these side by side frame diagrams. I took a line connecting the Head, Hips, Left Arm, Right Arm, Left Elbow, Right Elbow, Left Knee, Right Knee, Left Foot, and Right Foot. We shall see what fun stuff I can make with these lines...
Saturday, February 9, 2008
Monday, February 4, 2008
Animate Form = More understanding :)
The Animate Form reading is something I can understand and enjoy. The progression of mathematics has always fascinated me and the progression of computers and technology to adopt such mathematics is even more exciting. The idea of animation as, not simply motion but, the evolution of a form and it's shaping forces, is a very interesing idea, and one that I think many find hard to comprehend. I myself had to comprehend this definition for a second. However, with a farily comprehensive knowledge of computer applications and how they function, it makes sense for these forces to be the driving factor behind changes in a line or form. The mathematical basis has come a long way in computer software and the introduction of vector forces has provided a new way to look at complex geometry. I also would like to point out an interesting thought that kept creeping into my mind as I contiued on in this reading...I think that because of architecture's root in 'normal' mathematics, such as geometry and trigonometry, the early methods of design and documentation were limited to the knowledge of those areas of the subject. However, as more calculus and more complex mathematics are undertaken by studetns, and by the software, a different approach can and is being taken for design and production using these newer means. As well, the complex forms being generated by computers nowadays has been ridiculed by 'older' patrons of the profession who have been used to a 'simpler' set of rules and regulations with regards to design. This may be the basis for the arguments that computer and digital drawings are the devil! The issues Lynn brings concerning architecture derived from stasis also is an interesting and in my opinion extremely true point about the origins of architecture. That being how everything was designed in 2d or with one perfect picture of a street perspective...now because we can design in 3d and even use things like parametric modeling all while adding forces to conceptual fields to influence our forms, architecture can extend into a different, not necessarily a better, but different direction that is certainly worth exploring.
Issues of loading with reference to past architectural practices also brings up a valid point. We have always designed with structure to hold the building up, but not to keep it from falling over. After working along side structural engineers for a number of years, I now know the importance of a shear wall, and all of the fun things you can do to circumvent the issues that arise from lateral forces. Designs can take on interesting shapes when these types of forces are taken into account. However, as Lynn suggests, time and motion should also be forces of consideration in design. This avenue of architecture is one that can only occur with computer aided design. And it is this type of architecture that will be causing generational head butts for years to come. However, it is simply fascinating that you can plug in things like differential equations into a computer and have them influence a design form. And it just clicked to me that these are things we're going to be doing in this course...and that is definitely the exciting stuff. But can we really "release control of our design process to software?" I'm sure only some people will delve into this as I still feel that I am a proponent for drawing, computing, sketching, computing, repeat...yet I do feel that parametric modelling and designing with the forces of time and motion can be quite an exciting proposition.
Splines are another fascinating topic. The fact that we can recreate complex geometry by applying pushes and pulls on a system is nifty. Then when entire surfaces, which are combinations and resultant meshes created from these boundary splines, are created we have a truly remarkable conglomeration of computer software capabilites and complex mathematics. This surface can then be animated by simply changing the forces at individual points along a single spline, or even at the surface itself...The idea of having boundary conditions which can also be animate, which then react to and interact with the surface or otherwise already animate system is extraordinary. These complex thoughts are fun to delve into and are at the forefront of interactive design and animate architecture. I'm not sure I agree with Jenny, who Lynn quotes to have said "nature reveals an abundance of sculptured forms, and all of them, it must be remembered, are the result of vibration," but nonetheless this helps to push for a more animate design process if what we are doing is trying to perfect our design decisions. In the words of Karl DuPuy, "all the good sites are already taken, and everything has already been designed"...so what are you waiting for?
Issues of loading with reference to past architectural practices also brings up a valid point. We have always designed with structure to hold the building up, but not to keep it from falling over. After working along side structural engineers for a number of years, I now know the importance of a shear wall, and all of the fun things you can do to circumvent the issues that arise from lateral forces. Designs can take on interesting shapes when these types of forces are taken into account. However, as Lynn suggests, time and motion should also be forces of consideration in design. This avenue of architecture is one that can only occur with computer aided design. And it is this type of architecture that will be causing generational head butts for years to come. However, it is simply fascinating that you can plug in things like differential equations into a computer and have them influence a design form. And it just clicked to me that these are things we're going to be doing in this course...and that is definitely the exciting stuff. But can we really "release control of our design process to software?" I'm sure only some people will delve into this as I still feel that I am a proponent for drawing, computing, sketching, computing, repeat...yet I do feel that parametric modelling and designing with the forces of time and motion can be quite an exciting proposition.
Splines are another fascinating topic. The fact that we can recreate complex geometry by applying pushes and pulls on a system is nifty. Then when entire surfaces, which are combinations and resultant meshes created from these boundary splines, are created we have a truly remarkable conglomeration of computer software capabilites and complex mathematics. This surface can then be animated by simply changing the forces at individual points along a single spline, or even at the surface itself...The idea of having boundary conditions which can also be animate, which then react to and interact with the surface or otherwise already animate system is extraordinary. These complex thoughts are fun to delve into and are at the forefront of interactive design and animate architecture. I'm not sure I agree with Jenny, who Lynn quotes to have said "nature reveals an abundance of sculptured forms, and all of them, it must be remembered, are the result of vibration," but nonetheless this helps to push for a more animate design process if what we are doing is trying to perfect our design decisions. In the words of Karl DuPuy, "all the good sites are already taken, and everything has already been designed"...so what are you waiting for?
Saturday, February 2, 2008
Greg Lynn_Folds, Bodies, & Blobs...
Sooo, I feel that I am definitely not ready to comprehend the entirety of this reading. I feel that he is simply stating, in an unnessarily verbose fashion, that matter exhibits properties that are worthy of recognition. This section is a sort of intro to the type of architecture I know, from past knowledge, that he is going to get involved in. Lynn elaborates on the vicissitudes of gelatinous matter, along with other interactions that are all in nature and can be observed with a menial amount of scientific knowledge. To be honest, I really don't see why he can't explain these ideas with a more vernacular vocabulary, but most of this reading is comprehendible on the second pass. Still, Lynn's thesis primarily introduces natural processes and properties of matter that will further serve to inform the type of semi-architectural, organic, digital modelling that will ensue. I also know that this was not the way to respond to this first assignment, nonetheless, I will now try to tackle the Animate Form reading...
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