Surface Consciousness - Between Surface and Substance

Reading Notes:

"honesty of material" - surface is a conscious expression of the qualities of the materials used to construct it

study in a context where material integrity is irrelevant, using digitally produced images, comparing digital models to physical models

conforming to style reduces architects from creative makers to informed copyists

conceptual art is being questioned beyond its more superficial qualities and critics have started to look deeper for the real substance and form to art, in relation to architecture

idea over art leads to relationships between projects described, in which mathematics is the bridging factor that unites their formal qualities

Gaudi and the Sagrada Nave Roof

the roof is embellished and detailed with great effort; however, the complexity of the surface texture masks the simplicity of a second order Euclidean geometry that uses mathematically predictable hyperbolic paraboloids

therefore the construction of the form is actually relatively easy, although the anticipated product appears far more complex

exterior - easily constructed ruled surface, interior - because the roof must have a thickness, the interior, an offset ruled surface is not a ruled surface also, and must be treated as a different condition

so the move from perfect mathematical geometries face difficulty in practical applications; real materials have thickness, and so either the interior or the exterior, cannot express the ideal geometry of the other side does

Paramorphs

transfer from one schematic design team to one digital production team involves a reassessment of the form being proposed

mathematical matching and manipulation of cylinder and cube led to the design of a reading room for a library

resulted in a system of louvers with a dynamic surface quality, in which different configurations lead to a varied external expression of the room's surface

Perplications (Non-Euclidean)

cross foldings between complex repetitions

treating thoughts an ideas as an interwoven interactions of subconscious desires, ideals, and intellect, rather than a linear passage of continuous trains of thought

the image or representation is a snapshot of a particular configuration of those interactions

in the mind

Hyposurface (Non-Euclidean)

the design of a wall that would not be possible without digital technology

surface that moves and reacts to stimuli, comparable to a living nervous system

an attempt to model a skin that experiences a wide variety of conditions, between a flexed tautness and a dynamic, bent or curved contour

Reflection:

This article starts out by pointing out and questioning the place of style in architecture in a contemporary setting: what is the value gained in marking your work as an architect by attaching a certain style to buildings or structures?

The article criticizes a tendency for the superficial appearance of a building to monopolize on a building's worth or design validity, and instead asks for a more critical examination of the processes by which buildings are constructed, especially in using digital technology that is paving the path for the architecture of the future.

The article goes on to describe computational means of deriving form, where mathematics and the immense computing power of today's technology can give rise to a whole new methodology and approach to the way that built structures are conceived and ultimately erected. It goes on to describe a series of projects that demonstrate this recent wave of philosophy and thinking on the topic.

I think what I most agree with is the need for architecture to be constantly assessed in terms of structural and surface construction; since it is so intimately related to the available technology of the age, it makes sense that building technologies stay up-to-date with newer, more economical, efficient ways to build with new materials and construction procedures as they emerge. I think the points that trouble me slightly are the fact that technology moves at an alarmingly fast rate, and this can adversely affect the subsequent architectural products in a number of ways: if advanced too quickly, there is not sufficient time to assess the long-term effects and reaches of an architecture that is constantly changing and on its toes, if advanced too slowly, the changing practice of human technology and culture may outdate buildings and render them incapable to appropriate response to programmatic needs and human activity. I wonder about the conception of abstract forms that have spearheaded the contemporary architecture movement, and whether it is at a stage to be understood by the greater public of building users, and not just architects. It is society at large for whom we are designing after all; we should not be moving forward at a rate that far exceeds the sentiments of the human population that we serve.

Vigorous Environments - Reading Notes

Reading Notes:

prescribed meaning and functionality of design forms is no longer practical, pushing towards a design product more focused on process, qualities of spatial relationships, and development of dynamic surface forms. 

ecological design paradigm shifts from one of stable alignments and characteristics to "temporal regulation of generative processes"

spatiotemporal design processes attempt to address the problem of installing more permanent structure in an environment that is temporal and changes over time

"synergy and feedback as core functions of performativity"; the ability of structure and architecture to converse with its environment, and for technology to enable architecture to facilitate an adaptive response 

Umberto Eco states that the ambiguity of a work is what allows its openness to afford flexibility in response to external condition, "deliberate ambiguity"

proposes a field of possible orders, instead of one prescriptive type

multiple arrangements of the constituent parts, based on the user's preference

avoid conventional forms of expression and prescribed interpretation

in an effort to detach geometrical forms and associated interpretations, Ocean North attempts to fragment familiar geometries and form new spatial relationships that are not associated with a particular preconception or preconceived interpretation, "unfamiliar geometric composites"

Extraterrain furniture project - simple material surface with varied potential, but evades an "indication of proper use"

destabilized spaces and the heterogeneity of the material surface prompted the users to perceive its qualities differently in different environments at different times, with varying amounts of company. "territorial negotiation between simultaneous users."

contemporary solutions that seek to provide individualized products are still working with a mix and match technique of a finite set of choices; the goal is to break away from this method further, and instead move to a "dynamically evolving production of nonprescribed possibilities." 

Reaction:

My interpretation of the reading takes the generative process of the relationship between object and user as analogous to the neurons of the brain and the human adaptive response. Just as the brain learns new things and consequently creates neural connections that bridge the interaction between the new thing learned and previous knowledge, the architecture being described here is one where the preexisting condition or perception is not the foundation upon which relationships are derived; rather, an ambiguity or openness of interpretation and use creates new types of relationships that are detached from familiar forms or conventions. This is similar to the brain's ability to create new relationships of the phenomena that it observes through our senses and experiences.

Another statement I'm sensing is that the goal is now to create an architecture whose ambiguity is its redeeming feature, a sort of precise ambiguity, that allows it to perform a wide variety of functions, but also over a course of time in which environment changes. I'm a bit skeptical about this stance, though I understand the rationale. I wonder where the balance is struck between prescriptive form and complex, unexplainable geometries so that both practicality and intuition directed towards the possible functions and performances of built forms can be understood.

Animation Update

An image of the workspace from the animation I've been working on most recently. 

I've modeled two very simple objects (to represent shield and spear), and stopped them along key frame moments moving from left to right, that replicate the structure of movement from the 300 clip. Also, in red, is an outline of the camera's movement as it observes the actions I've plotted. 

So the objects and the camera position in relation to the objects has been determined; however, I have been trying to figure out how to render the actual animation, and struggling to figure out how to preview the actual motion. Once I figure this out, I'll be able to adjust the camera's angles and positions to correctly document the movements. In addition, I'm not quite satisfied with the shapes I've created, though they are acting more as markers at this point, and it's my first pass at the animation. I think they're a bit too literal in keeping with the 300 clip, and I'll be thinking of ways to abstract them more deeply.

Storyboard/Structural Analysis

Below is an image that breaks down the scene I will be trying to abstract and animate:

This top half illustrates the linear movement of events. The pattern breaks down into an alternating sequence of stabs followed by transitive movements such as pulling the spear back, or lifting it up to throw. It lines up the motions of the spear with the geometry of the shield (line and shape).



This is my first sketch that attempts to break down the clip into chunks that I can comprehend. Here, I've highlighted the spear and shield in particular to understand them as possible abstract shapes that I will model for my animation. The goal will be to take these moments in time and stitch them into a linear sequence.





In addition, I have also plotted an approximation of how the camera will interact with the subject. It is represented in a relatively simple line "graph" shown below:

The next step for me is to explore the animating software to execute the commands dictated by the analysis I've done above. I will be trying to do this at first with a simple moving object and mimic the camera's motion temporally and spatially.

Movie Clip Selection

For my movie clip selection, I will be looking at a scene from Ocean's Eleven. 

It is the scene in which Danny Ocean describes the details of the casino heist: in the movie, the events are occurring as he describes them. 

If you've seen the movie, you'll know what I'm talking about. I hope to have the clip up soon, updated to this post, as I'm working on getting a movie file. I think there's plenty of action with the filmmaking in this scene: switches in character and view, as well as an interesting composition of linear movement along spaces in the scene and following the various characters as they play out their role in Ocean's intricate burglary. 

**Update:
I have switched gears and decided to study a scene from "300" instead. This is the scene where King Leonidas (Gerard Butler) is fighting through a series of Persian soldiers, a particularly interesting scene in a cinematic sense (the link is shown below). Looking at the camera and its relation to the subject, the camera breaks down a series of King Leonidas's movements into moments of fast or slow movement, as well as closer and farther shots in the frame of view. These contrasting moments dramatize the action of the scene but also describe the very sculptural and choreographic nature of the fight scene. The subtle but smooth sweeping movements of King Leonidas's figure become an interesting sequence of images that are strung together using the medium of film.

Moving forward, I will be creating a story board of the scene, breaking it down into a series of images from which to animate one to the other. I think my focus will be on two parts of the frame overall: King Leonidas's arm and by extension his spear, and his shield. When modeled independently, can represent an abstract form.

This has always been one of my favorite scenes from the movie; the intensity is matched by the drama of the filming style.

300 Fight Scene - King Leonidas 

on Versioning: Connubial Reciprocities

Initial Reading Notes:

-surface and space are reciprocal and codependent entities

-reconciling between rationalist and empirical ideologies

-rational is about resolution, determinacy and exactitude

-empirical forms expressions and structural mechanics

-the reconciliation is embodied by taking the formal and structural effects of empirical product and approaching with the rational through precision

Syntax: Polyglotomy and multiple effects

-Renaissance and Baroque used poche to articulate solidity between a building's interior and exterior spaces

-facade is objectified, architects seek a formal purity to paste onto the mass of the building

-le Corbusier and the advent of modern architecture opens spatial condition and thins out the poche line that separates the mass of the building from surroundings; open plan

-surface is the essence of a building's formal and tectonic expression

-example: the manipulation of brick work and the formal construction of a brick wall can -express the load bearing qualities of brick in a new way

-new forms and surfaces are derived through this exploration of surface that critically questions the potential of materials which have just become materials as part of a palette of building construction choices

-Kahn manipulates bricks in an exacting way to create patterns that are independent of the brick function of serving in the structural system of the building

-Dieste does the opposite with concrete, but with similar approach, through exacting of concrete forms, he ties the form and structure together; the interior of the building is created by the shell that makes up the exterior surfaces

-skin and structure are interdependent and related

Synopsis:

     The essence of this post was to identify and clarify the processes behind which the construction and structure of a form has an inextricable relationship with the spaces and surfaces that they create, or ought to. Ponce de Leon and Tehrani emphasize and recognize works of architecture that demonstrate a deep understanding of materials and its implication on the tectonics of a building, and manipulating the material and its incorporation into a building's structural formwork to achieve a conscious effect relating the nature of the material, and its visual or experiential perception. For example, the implication of using the column orders to express the loading diagram of a building in the form of the physical structure is overturned by the trading in of new elements that do not represent strength or load bearing qualities, revealing a fallacy or deception in the structural expression. This leads to the exploration of a logical expression of surface through the character of the material of which it consists; this intimate relationship, once understood, invokes a deep and truthful understanding of the capability of materials, and how they can create the surface of a building, which in turn affects the space that it encloses or touches.