Thesis Prep Seminar - Matias del Campo - University of Michigan - 2015 "Moody Objects" examines aspects of atmosphere, ambience and mood. A set of specific lenses serve as the mechanisms of observation for speculations and obsessions which rely on techniques such as Boolean operations, symmetry and computational crafting.
Monday, October 31, 2011
Tuesday, October 18, 2011
Sunday, October 16, 2011
Felting Chromatics
I have continued defining the concept of felting as a structural and aesthetic determinate for my design. Using one grasshopper definition, I have determined multiple ways to manipulate 1 curve to follow a path that creates columns, floor slabs and exterior density.
The image above is a composite of Maxwell, V-ray, and vector linework
Saturday, October 15, 2011
lattice composite
The Mariahilferstrasse 13 plot wraps the corner of one of Vienna’s most bustling shopping streets and a narrow connecting alley. The floor by floor twisting action of the design engages this corner with a dynamic lattice system. The interplay between transparent and solid facets further animate the building while revealing its structural hierarchy. The device for twisting the structure generated hyperbolic surfaces that wrap the building envelope as well as the interior spaces creating opportunities for functional space in the design. The exercise captures this main corner with three techniques. Vector rendering, Mental Ray rendering and Maxwell rendering.
Cindy Rohrer: VS2 - Proportional Systems
Federation Square, Melbourne, Lab Architecture Studio, 2002
This visual studies exercise explores how a fractal network readjusts itself when random joints shift position.
In the grasshopper defintion, points on triangular grid are extracted, and ines are created when the points are wintin a predertermined proximityto one another. When points on the grid are shifted, the connecting lines will either be shifted or deleted. The traingular grid then deforms and creates openings.
Given that the design key terms for my studio project are “vague” and “solar radiation”, I could make use of this definition and determine how daylight would enter the project buidling thru the openings generated by grasshopper.
Cindy Rohrer: VS1 - Part to Whole Relationships
La Sagrada Familia, Barcelona, Antoni Gaudi, 1882-
Similar to the previous Maya duplicate special exercise, I populated a surface with a component via grasshopper to illustrate the part-to-whole relationship. I divided the surface evenly and place the component on top of each grid. I also changed the component to be larger or smaller through the manipulation of surface shape. By adding thickness to the components, the populated surface becomes more dynamic.
Sunday, October 9, 2011
Proportional Felting: Gray Garmon
Using the ancient Egyptian proportions of 18 units and sub units divisable by 3, I created a component comprised of pipes.
I continued my previous study of components that can function as both function and ornament, repeating this proportional component across an elliptical surface. I attempted to create a “felting” quality to the surfaces, that appear as if many layers have been added and condensed.
In further studies, I used the same component in smaller dimensions to create areas of extreme density that come close to being solid, and thus could function like columns for beams.
Part to Whole Relationsips: Gray Garmon
I conceptualized a component that could be both structural and form generating. Parts of the structural element extend and create depth to the surface that would change the views as the angle and position of the component change.
I studied this because I am interested in experimenting with a structural element that can also adjust to light, winds, views and privacy conditions. Although this current iteration is more of a Whole to Part relationship, I believe that the right component with the correct data inputs can create an interesting form, as well as being the main structural element.
student's work
Saturday, October 8, 2011
Proportional Systems - VS02
Modulor, Le Corbusier, 1950
http://www.originalprints.com/printview.php?dx=3&page=1&id=30738&sid=24ea782146b23b2f6447ac3dbeb9ca00
FLKS, a collapsible plywood workspace, by Kapteinbolt, http://www.dezeen.com/2010/01/20/flks-by-kapteinbolt/
Unité d’Habitation, Marseille, Le Corbusier, 1947-52. http://www.archdaily.com/85971/ad-classics-unite-d-habitation-le-corbusier/
granular modulor lattice
Le Corbusier’s Modulor is a proportional system he developed during the design of he Unite d’Habitation in Marseille after WWII. Based on the height of the ‘ideal man’, 2.26 meters, it divides the body between the navel, the head and the raised arm. The resulting proportional measurements are 1130, 698 and 432. This exercise utilizes the Modulor along with two keywords describing material formation and quality. Granular and Lattice. All dimension, both the 'granular’ unit and the over all form, employ the Modulor ratio, while the twisting of the form creates the crossing action of a traditional lattice. The granular units are also scaled using the Modulor proportion. The three sets of scaled granulars are also quantified according to the Modulor proportion.
Part to Whole Relationships - VS01
See-Through Church “Reading Between the Lines” by Pieterjan Gijs and Arnout Van Vaerenbergh. Limburg, Belgium. Photos by Kristof Vrancken. http://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/ 9 September 2011
Serifos, Greece . “Decoding paradise – the emergent form of Mediterranean towns” by Mathieu Helie. Published: December 21, 2008. http://emergenturbanism.com/2008/12/21/decoding-paradise-the-emergent-form-of-mediterranean-towns/
twisting box morph
This part to whole exercise utilizes grasshopper’s box morph tool in which a surface is populated with a given component. The component is a hallow triangular prism with open ends. The surface is a parametric square tube with filleted corners capable of twisting on two axis at its center. The twisting shape morphs the component, changing the apparent density of the whole (1). By manipulating the number and dimension of the component part, the legibility of the resulting lattice, or whole, is further effected. Adding divisions to the base surface, or increasing the number of components, increases the fineness of the whole (2). Increasing the depth dimension of the prism component reduces the transparency of the whole (3). Further increase of divisions and depth creates a near solid object, less about the parts with which it is comprised and more about the final form (4).
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