i thought i'd post a new piece that i modeled. it got 3d printed recently and looks pretty cool. the flatter side (rear of the car) really flattened out in the print though, perhaps because of resting it on that side for fixing.
3.16.2009
new model piece
i thought i'd post a new piece that i modeled. it got 3d printed recently and looks pretty cool. the flatter side (rear of the car) really flattened out in the print though, perhaps because of resting it on that side for fixing.
3.06.2009
tile woes
there will be no model of this exact tile. there is something wrong with the geometry. it will not let me triangulate. it will not let export it to an .stl. i cannot cut/ difference/ subtract/ trim/ section. [why are there all these terms anyway?] so, it will live on for now only in the digital realm and as printed 2d images.
3.05.2009
tile mission_progress 2
the tile start that i posted below has been abandoned for now, not to say i won't go back to it. here is a process shot of the new one. i've got it all lined up and will trim the edges tomorrow before the print. the model pieces will be turned on their side in the tile, so that a curvy, linear pattern emerges. the pattern is skewed on the diagonal, leaving one corner revealed to the flat surface of the tile. this is so that the tiles could be arranged in various ways to form different looking overal patterns from the same tile unit. more visuals to come...
new geometry_pattern
i built a new piece of the car, the back fender, trunk and part of the roof of the cab. the geometry is not the smoothest. but i had to figure out how to make the geometry by building surfaces, rebuilding surfaces, and detaching pieces before attaching various components. it is not hard, but there is a level of precision that is needed so that the pieces don't have weird puckers when everything is finally merged.
i broke the piece apart in maya to something that i though could make an interesting pattern and tile. i originally decided to build a new piece because i was sick of the old piece that i had been working with and wanted to see more of the car. so, as i look at this image it is interesting that itis very similar to that original one even though it is a very different part.
a pattern was created with the model piece by offsetting evenly vertically and then copying the whole row and flipping it over and aligning the two rows together so that they are interacting with each other. the overlaying geometries create a suprisingly organic and architectural array. various photoshoped versions become more architectural (as in the "syscraper-esque" image) or less so (as in the "escher-esque" image). however both can be considered architecturally relevant.
3.03.2009
3.01.2009
inchote: an experiment in architectural education_marc angelil
inchoate: undeveloped
architecture has traditionally been a domineering practice with three “primacy’s”: visual appearance (formal presence, aesthetic order); authorship (a creator architect, creative genius, the architect as sole creator which internalizes the process of design, therefore negating the possibilities for collective processes); and the primacy of the object (architecture as artifact). angelil seeks to dispel these primacies and explores the idea of inchoate as a way to teach design.
inchoate design work is process-oriented. “praxis”, or established practices, pertains to technical, intellectual, or intuitive work. the technical praxis is the raw form of making. emphasis is placed on how something is made, as this affects the outcome of the design. established ways of making in the profession are implemented and the process is interrogated. the intellectual praxis is based on the notion that architectural design is a theoretical exploration. here, a conceptual framework is stressed as a foundation for the work. lastly, there is the intuitive praxis, which I find most interesting. this approach recognizes the importance of gut-feelings as relevant participants in the creation of design work. “intuition as a form of practice accelerates investigation, due to its immediacy and directness. associative thinking constructs unpredictable connections.”
architecture has traditionally been a domineering practice with three “primacy’s”: visual appearance (formal presence, aesthetic order); authorship (a creator architect, creative genius, the architect as sole creator which internalizes the process of design, therefore negating the possibilities for collective processes); and the primacy of the object (architecture as artifact). angelil seeks to dispel these primacies and explores the idea of inchoate as a way to teach design.
inchoate design work is process-oriented. “praxis”, or established practices, pertains to technical, intellectual, or intuitive work. the technical praxis is the raw form of making. emphasis is placed on how something is made, as this affects the outcome of the design. established ways of making in the profession are implemented and the process is interrogated. the intellectual praxis is based on the notion that architectural design is a theoretical exploration. here, a conceptual framework is stressed as a foundation for the work. lastly, there is the intuitive praxis, which I find most interesting. this approach recognizes the importance of gut-feelings as relevant participants in the creation of design work. “intuition as a form of practice accelerates investigation, due to its immediacy and directness. associative thinking constructs unpredictable connections.”
versioning: connubial reciprocities of surface and space_monica ponce de leon and nader tehrani
this article explores geometry and patterning as a means of reconciling space and surface. in the work of herzog and de meuron and gehry, there is a divorce of space and surface. (gehry's skins have no meaningful relationship with the spaces inside.) office dA’s work seeks to create architecture where surface and space are “organically linked, with geometry and patterning as the agencies for their precise resolution.”
the terms for surface qualities of buildings have evolved from “facades” to “elevations” to now “skins.” causation can be traced to theoretical shifts and technological advancements. in san carlo alle quattro fontane, the façade bulges as a result of the interior spatial qualities, yet has autonomy due to its strength and objectification. renaissance and baroque structures, being bearing wall construction, are subjected to the inevitable element of poche. corbu’s free plan opened up the possibilities of the façade to define new spatial qualities. space became defined by shifting planes within a column grid.
office dA's work is focused on the tectonics of a building skin. they feel that the “surface of architecture is the arena of primacy... it is in this surface that architecture has found its most potent form of expression...” their work seeks to produce multiple effects, where the effects have primacy, not correctness. [primacy, not correctness. there is no singular way of doing something.] through material manipulations, buildings take on unfamiliar qualities that challenge the semantic readings of the architecture.
geometry and patterning are the means by which the designers create space. examples of built work include the hookah den at mantra, where a wooden slotted intervention creates a surface at the center of the restaurant that simultaneously defines the circular space within and residual space around, and an installation at the museum of modern art constructed using folded metal plates that challenges notions of stairs and surface.
transitioning from these interior interventions to architecture, the author’s offer that yokohama port terminal by foreign office architects may be the only example of the successful integration of program, structure and building envelope. FOA achieves this through the formal operation of folding. office dA’s tongxian art center project and its use of brick exemplify their integration of surface and space. this project uses brick as the formwork and the finish of the building. “spatial construction and surficial manipulation are construed as part and parcel of the same interdependent set of determinants. without surface, there is no space.”
the terms for surface qualities of buildings have evolved from “facades” to “elevations” to now “skins.” causation can be traced to theoretical shifts and technological advancements. in san carlo alle quattro fontane, the façade bulges as a result of the interior spatial qualities, yet has autonomy due to its strength and objectification. renaissance and baroque structures, being bearing wall construction, are subjected to the inevitable element of poche. corbu’s free plan opened up the possibilities of the façade to define new spatial qualities. space became defined by shifting planes within a column grid.
office dA's work is focused on the tectonics of a building skin. they feel that the “surface of architecture is the arena of primacy... it is in this surface that architecture has found its most potent form of expression...” their work seeks to produce multiple effects, where the effects have primacy, not correctness. [primacy, not correctness. there is no singular way of doing something.] through material manipulations, buildings take on unfamiliar qualities that challenge the semantic readings of the architecture.
geometry and patterning are the means by which the designers create space. examples of built work include the hookah den at mantra, where a wooden slotted intervention creates a surface at the center of the restaurant that simultaneously defines the circular space within and residual space around, and an installation at the museum of modern art constructed using folded metal plates that challenges notions of stairs and surface.
transitioning from these interior interventions to architecture, the author’s offer that yokohama port terminal by foreign office architects may be the only example of the successful integration of program, structure and building envelope. FOA achieves this through the formal operation of folding. office dA’s tongxian art center project and its use of brick exemplify their integration of surface and space. this project uses brick as the formwork and the finish of the building. “spatial construction and surficial manipulation are construed as part and parcel of the same interdependent set of determinants. without surface, there is no space.”
Subscribe to:
Posts (Atom)
