Thursday, January 31, 2008
Wednesday, January 30, 2008
Monday, January 28, 2008
IMA Design Concept
MMFX :: Manufacturing Material Effect :: Rethinking Design and Making in Architecture (Exhibition : Made in Indiana)
Exploring modular, customizable design with an affordable budget for the IMA – MMFX Exhibition
4x8 cardboard (module) with lofted segments (customizable) nested into the 4x8 frame
Exploring modular, customizable design with an affordable budget for the IMA – MMFX Exhibition
4x8 cardboard (module) with lofted segments (customizable) nested into the 4x8 frame
Thursday, January 24, 2008
Rhino Scripting (Intro)
Wednesday’s tutorial on Rhino-scripting provided some of the basics of Rhino-scripting, but most of us are still unsure how to construct a complex script. An exercise in scripting however, we set to the task of editing and combining pre-existing scripts.
Starting with the fractal script, running a series of consecutive scripts tagged onto the original script modified the end resultant drastically.
The first experiment included the original script plus a self lofting command to loft the resultant curves. The parameters need to remain quite small to construct the geometry efficiently, but the end product results something similar to crushed paper or plastic wrap for some flowers.
The second experiment modified some of the parameters for the fractal script to increase the number of recursions before splicing a pipe script into the fractal script.
The final experiment utilized the varying radius script changing the original (12) variable to 50. The varying radius reflects similar growing patterns of vegetation – longer spans reflecting a wider diameter.
Starting with the fractal script, running a series of consecutive scripts tagged onto the original script modified the end resultant drastically.
The first experiment included the original script plus a self lofting command to loft the resultant curves. The parameters need to remain quite small to construct the geometry efficiently, but the end product results something similar to crushed paper or plastic wrap for some flowers.
The second experiment modified some of the parameters for the fractal script to increase the number of recursions before splicing a pipe script into the fractal script.
The final experiment utilized the varying radius script changing the original (12) variable to 50. The varying radius reflects similar growing patterns of vegetation – longer spans reflecting a wider diameter.
Monday, January 21, 2008
Revit Training - Jan 18th, 2008
“Revit® Architecture* software works the way you think, so you can create naturally, design freely, and deliver efficiently. And because it is purpose-built for building information modeling (BIM), any change you make—anytime, anywhere—is automatically coordinated throughout your project. Designs and documentation stay coordinated, consistent, and complete.”
www.autodesk.com/revitarchitecture
www.autodesk.com/revitarchitecture
Saturday, January 19, 2008
Lord of the Rings Motion Picture Trilogy – The Exhibition
Ended U.S. tour at the Indiana State Museum
Oct. 6, 2005, through Jan. 3, 2006.
Indiana State Museum
650 W. Washington St.Indianapolis, IN 46204
317.232.1637
“This touring exhibition has been created by The Museum of New Zealand Te Papa Tongarewa, known as Te Papa, who were granted exclusive rights by New Line Cinema to produce an exhibition based on "The Lord of the Rings" film trilogy produced in New Zealand and directed by Peter Jackson. Since closing at Te Papa, this exhibition has toured to some of the world’s major cities, including Boston, London, Sydney, and Singapore, and visits Indianapolis Oct. 6, 2005, through Jan. 3, 2006. Te Papa thanks the New Zealand Government for supporting this exhibition.” Indiana State Museum
Architectural exhibition features:
- A large entrance display extends the exhibition out of the gallery space
- Signage advertises the exhibition to the passersby
- Large exhibits are featured around the perimeter while smaller displays fit inside
- A single partition module can be combined into three different configurations
- Featured exhibit in the center of the back wall
- Exhibits are divided into categories from modeling to costume design.
- A large graphic and smaller text provides extended information for models, videos, and interactive exhibits.
- Signage suggests counter-clockwise circulation, but it was not regulated
- Interactive displays provided extra circulation space
Oct. 6, 2005, through Jan. 3, 2006.
Indiana State Museum
650 W. Washington St.Indianapolis, IN 46204
317.232.1637
“This touring exhibition has been created by The Museum of New Zealand Te Papa Tongarewa, known as Te Papa, who were granted exclusive rights by New Line Cinema to produce an exhibition based on "The Lord of the Rings" film trilogy produced in New Zealand and directed by Peter Jackson. Since closing at Te Papa, this exhibition has toured to some of the world’s major cities, including Boston, London, Sydney, and Singapore, and visits Indianapolis Oct. 6, 2005, through Jan. 3, 2006. Te Papa thanks the New Zealand Government for supporting this exhibition.” Indiana State Museum
Architectural exhibition features:
- A large entrance display extends the exhibition out of the gallery space
- Signage advertises the exhibition to the passersby
- Large exhibits are featured around the perimeter while smaller displays fit inside
- A single partition module can be combined into three different configurations
- Featured exhibit in the center of the back wall
- Exhibits are divided into categories from modeling to costume design.
- A large graphic and smaller text provides extended information for models, videos, and interactive exhibits.
- Signage suggests counter-clockwise circulation, but it was not regulated
- Interactive displays provided extra circulation space
Cave Troll
Hobbiton Model
Black Riders
Orc Head
Creating Orcs
The Ring
Sauron
Corsair Ship Display
Entrance
Indiana
Official Website LOTR: Exhibition Website
Indiana State Museum: LOTR Exhibition
Article: LOTR Exhibition - Indianapolis
Images From BBC User
Skin: Surface, Substance, and Design | Cooper-Hewitt National Design Museum, 2002
May 7th – September 15th, 2002
A featured exhibition at the Cooper-Hewitt National Design Museum, Skin: Surface, Substance, and Design explored the inspiration for a myriad of designers – skin. The dermis of our own bodies, the exhibition hosted a collection of 128 objects, photographs, and videos that explore the translation of biological skin into parameters for design applications of depth, complexity, and perforation. “Skin is a real-time interactive installation that visualizes a dialogue between physical and digital senses of touch,” Skin.The exhibition focused on five subcategories of skin to redefine our understanding of surfaces:
Padding + Protection
Artificial Light + Artificial Life
Beauty, Horror, + Biotechnology
Intelligence + Touch
Vessels + Membranes
The installation was divided according to these themes, covering medicine, art, architecture, entertainment, recreation, clothing, and fashion, domestic life, and war. Many critics claim objects are only representations of a collection of works and could be interchangeable among the selected categories. However, these installations still remind us that designers are getting closer to the biological model of the human form.
Featured Designers and Architects
• Carla Murray & Peter Allen: TechnoLust - core 77 design competition 2000
• Chris Slutter:
• Greg Lynn Form: Skin, Fold, Blob Architecture, Embryonic House (fluid architecture)
• Jurgen Bay: Kokon/Covered series
• Marcel Wanders: Sneeze, Egg, Sponge Vase
• Matthieu Manche - Fresh series of garments
In 2006, a follow-up exhibition focused on projects since the 2002 showing. The sequel installation, Second Skin, looks at surface technology that further expands our skin applications. “Reflecting the convergence of natural and artificial life, the exhibition will show how enhanced and simulated skins appear throughout the contemporary environment. Designers today continually manipulate the relationship between the inside and outside of objects, garments, and buildings, creating skins that both reveal and conceal, skins that have depth, complexity, and their own behaviors and identities,” Skin
Soundwave Swell Diffuser, 1999-2000. (Teppo Asikainen)
Liquid_Light: Drip_1, 1999. (Constantin Wortmann and Benjamin Hopf)
Second-Generation Face Robot, 2000. (Peter Menzel/Robo Sapiens, photographer)
Recyclable, Portable Skyscraper, 2001. (Todd Dalland, Geza Gergo, Isamu Kanda, and Tamer Onay)
II Sarto Immortale (The Immortal Tailor) 1995-97. (Alba D’Urbana)
External References
Lupton, Ellen. “Skin: Surface, Substance, and Design” Princton Architectural Press, New York (2002)
Smith, Roberta. “Design Review: A Wrap That’s Almost Human.” New York Times. (May 17, 2002).
SKIN A look inside the book
A featured exhibition at the Cooper-Hewitt National Design Museum, Skin: Surface, Substance, and Design explored the inspiration for a myriad of designers – skin. The dermis of our own bodies, the exhibition hosted a collection of 128 objects, photographs, and videos that explore the translation of biological skin into parameters for design applications of depth, complexity, and perforation. “Skin is a real-time interactive installation that visualizes a dialogue between physical and digital senses of touch,” Skin.The exhibition focused on five subcategories of skin to redefine our understanding of surfaces:
Padding + Protection
Artificial Light + Artificial Life
Beauty, Horror, + Biotechnology
Intelligence + Touch
Vessels + Membranes
The installation was divided according to these themes, covering medicine, art, architecture, entertainment, recreation, clothing, and fashion, domestic life, and war. Many critics claim objects are only representations of a collection of works and could be interchangeable among the selected categories. However, these installations still remind us that designers are getting closer to the biological model of the human form.
Featured Designers and Architects
• Carla Murray & Peter Allen: TechnoLust - core 77 design competition 2000
• Chris Slutter:
• Greg Lynn Form: Skin, Fold, Blob Architecture, Embryonic House (fluid architecture)
• Jurgen Bay: Kokon/Covered series
• Marcel Wanders: Sneeze, Egg, Sponge Vase
• Matthieu Manche - Fresh series of garments
In 2006, a follow-up exhibition focused on projects since the 2002 showing. The sequel installation, Second Skin, looks at surface technology that further expands our skin applications. “Reflecting the convergence of natural and artificial life, the exhibition will show how enhanced and simulated skins appear throughout the contemporary environment. Designers today continually manipulate the relationship between the inside and outside of objects, garments, and buildings, creating skins that both reveal and conceal, skins that have depth, complexity, and their own behaviors and identities,” Skin
Soundwave Swell Diffuser, 1999-2000. (Teppo Asikainen)
Liquid_Light: Drip_1, 1999. (Constantin Wortmann and Benjamin Hopf)
Second-Generation Face Robot, 2000. (Peter Menzel/Robo Sapiens, photographer)
Recyclable, Portable Skyscraper, 2001. (Todd Dalland, Geza Gergo, Isamu Kanda, and Tamer Onay)
II Sarto Immortale (The Immortal Tailor) 1995-97. (Alba D’Urbana)
External References
Lupton, Ellen. “Skin: Surface, Substance, and Design” Princton Architectural Press, New York (2002)
Smith, Roberta. “Design Review: A Wrap That’s Almost Human.” New York Times. (May 17, 2002).
SKIN A look inside the book
SKIN The Website
Thursday, January 17, 2008
Space Informed by Parametric Constraints
Confined to a 650 square foot gallery space in the Indianapolis Museum of Art, the exhibition will feature designers and fabricators featured from the MMFX (Manufacturing Material Effects) International Symposium.
Lena, Joe, and I worked on the parameters for creating a programming process to place potential projects. Derived from Voronoi Cells and NURBs geometry, the formula imitates the biometrics of cellular formation to create space and corresponding voids in a larger space.
Positive space is created through exhibition display requirements that push and pull on the voids created through human constrains, circulation, and lighting parameters.
One issue we encounter were the constraints for constructing a hierarchical order of projects:
- Prestige
- First Come
- Cost and Installation Time
Our parameters for the gallery space are based on the principal of "packing"
"("packing " is a powerful organizational method in which an element's position in regard to its neighbors is determined by certain rules - not too close, no overlaping, etc... "packing" encourages a sense of democracy where one element's inclusion implies either an understanding of every other element or possibly a readjustment of the entire population. whether it is studied as self-organized structuring as cells or as a behavioral trope in crowds, "packing" can be observed as a collective and emergent sense of space - close, but not too close.)"
-Tooling
Lena, Joe, and I worked on the parameters for creating a programming process to place potential projects. Derived from Voronoi Cells and NURBs geometry, the formula imitates the biometrics of cellular formation to create space and corresponding voids in a larger space.
Positive space is created through exhibition display requirements that push and pull on the voids created through human constrains, circulation, and lighting parameters.
One issue we encounter were the constraints for constructing a hierarchical order of projects:
- Prestige
- First Come
- Cost and Installation Time
Our parameters for the gallery space are based on the principal of "packing"
"("packing " is a powerful organizational method in which an element's position in regard to its neighbors is determined by certain rules - not too close, no overlaping, etc... "packing" encourages a sense of democracy where one element's inclusion implies either an understanding of every other element or possibly a readjustment of the entire population. whether it is studied as self-organized structuring as cells or as a behavioral trope in crowds, "packing" can be observed as a collective and emergent sense of space - close, but not too close.)"
-Tooling
Sample of one object affecting space
Subscribe to:
Posts (Atom)