Tuesday, March 4, 2008
Project 1c Images
So the transition from Project 1b to Project 1c the viewer now gets a chance to see through the construct to the opposite side. by taking away the strip that connected both ends, the construct is easier understood as a series of temporal slats in time. As this study is refined this understanding of representation of time should be more refined. Through the overlapping of wire-frame and solid model one starts to experience the temporal construct as a still image and is able to then contrast that with the animation . Between the two forms of representation hopefully two different understandings of the construct articulated.
Why Tectonics is Square & Topology is Groovy
To become familiar with Greg Lynn’s usage of the word “blobbiness” or “blob”, Lynn looks at defining blobs in three ways. First, in the context of science-fiction horror films, where the blob takes on a form that is all surface and not flat or pictorial. Second, in the realm of philosophy, where the blob is defined as a viscous composite that is fluid like, and easily formed and/or deformed. Finally, how the blobbiness is justified in contemporary construction techniques.
Ok, well my understanding in relating the architectural concept of “blob” to the usage of blobs in films is to try and grasp the underlying concepts that relate to the formalistic notions of what a “blob” is. Easily put, from the 1988 film “The Blob”, we understand the blob to be all surface, not flat or pictorial in anyway. Further defining the blobbiness as a gelatinous surface, having no regular shape. By this description one starts to understand what a “blob” is, and therefore it becomes easily understood how to start thinking about the blob in an architectural sense.
Screen shot from "The Blob" 1988
The “blob” in theory: is stated as being “quasi solid” a composite or amalgamated form that is understood to be neither multiple or singular. A form that acts like in many ways that of singularity, while composing itself to any one simple organization or organism. This simple word “BLOB” holds many underlying concepts that result in a freely complex, non-formal geometry. Since these concepts were hard to understand, Lynn introduces the word “isomorphic polysurfaces” which relates to forms that are conceptualized off the Cartesian grid (or irregular blobby shapes). An example of both types of architectural forms is seen below (you figure out which one is which).
As for the “blob” in construction: Lynn in this part of the essay finds some beef with the tectonic practitioner, and their way of looking at man as always structuring himself as standing upright, and therefore buildings should as well. Lynn feels that within structure there are many more layers of complexity then the mere vertical loads of gravity that causes building loads down perpendicular to the ground. He states that we must be looking at interacting with not only vertical and horizontal loads, but with the multiple loads in between, which could become one parameter or many dictating the massing of the buildings form and/or envelop. Moving pass the “upright” Cartesian approach Lynn starts to investigate topological surface organizations, along with isomorphic architecture, as a exploration of the human body and the single cell. Some built architectural examples of these concepts are the works of Shoei Yoh, with his undulating roof surfaces that are created with minor variation in everyone of the structural members. With this slight difference in all members, construction and fabrication would be causes for concern. But with the use of new and innovated techniques in digital fabrication, a combination of prefabricated and on-site assembly moved the construction phase of the projects through to completion.
Shoei Yoh, Glass station, Kumamoto, 1993
By creating this type of roof surface, the building program along with the structure would not be compromised by a rather plain and idealized Cartesian like module.
Ok, well my understanding in relating the architectural concept of “blob” to the usage of blobs in films is to try and grasp the underlying concepts that relate to the formalistic notions of what a “blob” is. Easily put, from the 1988 film “The Blob”, we understand the blob to be all surface, not flat or pictorial in anyway. Further defining the blobbiness as a gelatinous surface, having no regular shape. By this description one starts to understand what a “blob” is, and therefore it becomes easily understood how to start thinking about the blob in an architectural sense.
Screen shot from "The Blob" 1988
The “blob” in theory: is stated as being “quasi solid” a composite or amalgamated form that is understood to be neither multiple or singular. A form that acts like in many ways that of singularity, while composing itself to any one simple organization or organism. This simple word “BLOB” holds many underlying concepts that result in a freely complex, non-formal geometry. Since these concepts were hard to understand, Lynn introduces the word “isomorphic polysurfaces” which relates to forms that are conceptualized off the Cartesian grid (or irregular blobby shapes). An example of both types of architectural forms is seen below (you figure out which one is which).
As for the “blob” in construction: Lynn in this part of the essay finds some beef with the tectonic practitioner, and their way of looking at man as always structuring himself as standing upright, and therefore buildings should as well. Lynn feels that within structure there are many more layers of complexity then the mere vertical loads of gravity that causes building loads down perpendicular to the ground. He states that we must be looking at interacting with not only vertical and horizontal loads, but with the multiple loads in between, which could become one parameter or many dictating the massing of the buildings form and/or envelop. Moving pass the “upright” Cartesian approach Lynn starts to investigate topological surface organizations, along with isomorphic architecture, as a exploration of the human body and the single cell. Some built architectural examples of these concepts are the works of Shoei Yoh, with his undulating roof surfaces that are created with minor variation in everyone of the structural members. With this slight difference in all members, construction and fabrication would be causes for concern. But with the use of new and innovated techniques in digital fabrication, a combination of prefabricated and on-site assembly moved the construction phase of the projects through to completion.
Shoei Yoh, Glass station, Kumamoto, 1993
By creating this type of roof surface, the building program along with the structure would not be compromised by a rather plain and idealized Cartesian like module.
Monday, March 3, 2008
Project 1c (1st attempt)
Well, here I tried to confine this iteration to the representation of frame, and the organizing factors which create the modules of this composition. To try and represent the sectional qualities of the "compositional displacement". I first took away the linear strip that confined the two sides of the construct to unveil the space in between each of the surfaces, in hopes this would give the animation more depth, and stronger spacial qualities. Also by giving the composition a transparency, this hopefully would add to the factor of "time", because as the viewer visualizes one surface at the present point in time, he/she is able to look back and reflect at where the animation was at an early point and time. One could also argue the fact that the viewer is able to catch a glimpse of the future, being able to visualize in a transparent form, of whats to be framed later in the animation. Since this is a first iteration, I will further explore the past animations and develop them, hopefully adding to the re-presenting qualities of the construct, in terms expressed during classes, in readings, and on the blogs.
Subscribe to:
Posts (Atom)