Surface to Surface

Surface to Surface

I have been interested in creating a simple framework that had the capability of adapting to more complex surfaces. I want to manipulate this surface into complex forms and geometries by way of parametric scripting. In order to do so, I thought it would be most interesting to take a more complex surface and map it onto the simple surface. The best way to do this was by simply drawing a curve or line in Rhino and allow the magic to happen in Grasshopper. To make this more interesting, I wanted to see if this script could be applied to a number of different curves.

Currently, I am getting closer to putting together a final form for the parametric study. In order to diagram a process, I have taken a series of snap shots of how I attempted to achieve this parametric study.

I drew a series of curves stemming from a line to a more serpentine design.

In Grasshopper, I used the move component to move the original curve in Rhino. I utilized a slider on this component as well in order to manipulate this move component. This may be useful to me later.

Grasshopper then allowed me to loft a surface between the original curve and the new moved curve generated.

Using the subdivide component, I subdivided the surface that would create a framework to repeat some kind of other complex surface.

Utilizing the subdivided surfaces, I used the Surface Box component that would essentially create the constraining boxes by which my complex surface would fit within when I map it.

I created this surface that I would then define as the surface to be mapped to the simple surface above. The bounding boxes defined through the phase previous would contain this new complex surface.



With this surface mapped, I wanted to start to see how this form can be manipulated in more than just a Z direction and how this script looks when applied to other curves. Below are a few of those moments where this script is placed on the other curves.

Parametric Modeling

Ok, back to the arch670 grind...

I attempted to venture into the Generative Components version of parametric modeling, to no avail. I have a feeling Grasshopper will be my best bet. The UI is much friendlier and more intuitive. Maybe dumbed-down is the more blunt way of saying that.

Moving on to the actual study of the parametrics, I did the tutorial of the sunshade to try to grasp how to map out the grasshopper commands. I did that fairly successfully, which is the image below.

Here, I was just aiming to grasp things like the slider, list items, and other tools to see what was actually happening. Otherwise, the grasshopper format just appears to be a bunch of car battery wires tangled up.

Using the mapping I got from the tutorial, I tried to apply them to several curves to see what kind of forms I could create. Below is the overall mapping sequence and also a detail of each command.

All of the commands lead into a lofting tool, as you can see with the big wire-esque pieces all leading to one hub. This loft followed whatever parametric parameters I set with the corresponding sliders controlling each point on the curves, as hightlighted in purple. The first iteration is seen below.

From here, I did a series of iterations rotating the curves themselves in Rhino and also changing the values of the points, which only move in an X direction. The next step of this would be to insert a slider to allow the point to change in a Y direction as well as create multiple points to allow for a much more dynamic surface creation. It's pretty amazing that a set of parameters can change a form so drastically and so quickly.

Project 2 Final - Motion Diagrammed

The Social Network Rowing Scene - Diagramming Motion

I decided to take a slightly different approach to the final version of the animation/surface study. The motion of the act of rowing is an interesting study compounded by the cinematography the director used to capture this action. With this in mind, I wanted to try to diagram that sequence.

First, I started off by trying to break down the essential parts of the rowing action. I took still images from a video of someone rowing.

 From this sequence, I tried to diagram the essential movements and elements to the action.

In looking at this, I decided that being too literal about the human body being evident, I isolated the body and it's actions alone as seen below.

Using Rhino, I lofted these curves after aligning them to create a surface. My hope was that this surface would be a sort of flow diagram of the action happening while rowing. I wanted to try to animate through using this surface.

I lofted the curves to yield a surface. I arrayed a series of planes to take splined segments from, which produced a sort of still-frame moments of the rowing action.

Now that I was given these moments, I arranged the pieces and surface into ways by which I could begin to animate the essense of the original video. The original video clip, in my few was about capturing the motion and action of rowing. This action happened as a tension between two points, the opposing row teams, on a line. The camera worked in line with this motion, panned around the line, ran on oblique to the line, and through the line. Through my animation, I wanted to diagram that sequence.

Physical Model Images

Digital modeling is much more expressive than physical, I've concluded. In these images, I show the model constructed out of two colors of chipboard. The space looks like it could be inhabited and an actual beginning of a built form. 

Animations & Space Creation

In order to create space, I had to break down the animation I was creating to a simple form. I simply analyzed the camera paths that I used in my various camera cuts to then use as curves within a modeling program. I chose Rhino for this process as I ran into issues trying to import a .dwf file into Maya. 


The curves created from the camera paths were fairly diverse. I had one long, swooping curve created from the pan-around camera I used in the opening of my animation. The others were fairly close in proximity and scale but varied in their form. It is interesting to see what form was created from lofting these various curves together to make one solid form. It almost forms what looks to be a large, cantilevered open air market... in a way. The closer, smaller camera path curves serve to anchor the larger sweeping camera path which forms the expansive "roof-like" figure. 


Looking at these images, I can begin to imagine taking 5, 6, maybe more camera paths to create a much more complex form. I chose to take the images from a ground plane perspective such to create the illusion of approaching the model as an object in space. 

Animation & Process Videos

Dissecting the Animation Process - Time/Space 


For this attempt at the animation, I decided I would try to compile separate camera cuts. I highlighted different camera paths and approaches to the rowing sequence, as to dissect the movements used in the film scene. Each camera cut, I put into iMovie to make one complete Quicktime video. 

I took some video of my process, as well. I tried to show how I took each camera path segment to compile them into one video in iMovie here: 

In EIAS Animator, I took screenshots of my camera paths. From those screenshots, I traced over them in illustrator to have curves by which I could loft when I brought them into a modeling program. I get into the process a little bit more in this video: 

Animation: Take 1 (of many to come)

In an attempt to understand the motion and linear progression of my scene in The Social Network, I tried to create the scene in a rudementary way. I did this without camera clipping or anything like that. I shot the scene using 3ds Max and autokeying the frames. I had to move and adjust the camera and objects alike to account for what I was trying to create. Through this process, I began to understand time and space as they function together. I couldn't, in my first tries, get the scene to extend long enough. As I understood time as a continuously moving entity, I was able to understand keying in more frames to create a slower motion. This is my first stab, I plan to attack this thing again.

Cinematic Clip

In this scene, from The Social Network, a very linear sport is studied and experienced through spectacular cinematography. In the scene, the Director (David Fincher) highlights a race between two teams competing in Crew. What's unique about this scene is his on axis/off axis cinematography. The linear progression of the race is experienced from the line itself, shifted adjacent to the line, and then back off from a distance. 

I believe this clip will be very interesting to break down and diagram. The camera revolves, aligns, and runs with the action in the linear progression which could be particularly powerful as it pertains to our studies. 

http://www.youtube.com/watch?v=nwIPDpRuyNk&feature=youtube_gdata_player

Educational Morphology and Versioning a Future in Architecture

Project 1C Readings.


Marc Angélil postulates in his writing "Inchoate: An Experiment in Architectural Education" that we have embarked on a period in time in which we must challenge the way we proceed in architectural education. Is there a scenario that we can perhaps unlearn what we have learned about classical approaches to education. "Every presumed totality, including architecture, is also formed by what it excludes." Architecture is a discipline in which we fail to include a wealth of knowledge from other fields that could begin to evolve a way of thinking. The "unexpectedness" of a new, unfamiliar way to generate creativity could lead to a whole new era of architectural education. 


There's merit in stepping out of tendency and begin to think more freely. The potential for growth spawned from this free thinking is exciting and will allow for growth. This is a unique approach but perhaps not totally unheard of previously. The renaissance architects of old had much more range to explore various ways to dissect and analyze ways of thinking. There wasn't a set template on how to "properly" design. They were establishing a base by which we have generally remained true to through the 20th century. However, as technology has progressed rapidly, our approaches have not. Why is that? If we are so forward thinking in a design sense, trying to innovate in designs, why can't we innovate in our approach to design? 


This article led well into the introduction written by SHoP Architects "Versioning: Evolutionary Techniques in Architecture." SHoP has taken much of what Marc Angélil argues and applies it in a professional practice of architecture. 2D, image based projections of space creation are no longer valid. We need to start focusing on technologies that are vector based in nature and much more prescribing of the various intricacies of the forms we create. Perhaps, also, streamlining a manufacturing process during construction. 


My only worry about such a process is this: if so many building materials and specs will be project-specific, how will this affect productivity of manufactured goods? If most new construction becomes one-off designs, it will slow projects down and make most materials difficult to fabricate and yield a higher end cost. We often compare the new design/build process with the use of modeling to car production. However, car production is highly different in the sense that a specific model is replicated repeatedly, thus yielding a higher benefit for one-off materials. In a building, the designs we generate are very much project specific and most likely will not be replicated beyond the project. So, as architects, I believe it is our duty to utilize the modeling tools we have to perfect the system of construction today by not prescribing unnecessarily convoluted design components, but perhaps design with a mind towards efficiency of materials and eliminating waste. Maybe we can model so precisely that we can accurately determine gypsum board counts, sheathing count, cladding pallets, etc... 

Project 1c - Leaf Morphology

Leaf Morphology - Experimental Generative Geometries to Mimic Natural Formations

In exploring my segment of my vehicle model, I saw that the form that was being created as I began to distort the original form resembled that of a leaf. I sought to look at the morphology of a lead through the seasons and the way they begin to cup and distort themselves. In order to create a pattern of some sort, I began to look at the way leaves could ideally orient themselves as they gather in fall. 

http://www.dias.kvl.dk/plantvirology/esymptoms/symp-morph.html

I only distorted the original figure three different times in order to gain a kit of parts by which I could create my martix tile to create a dynamic pattern. My goal was to create a pattern that would make the original shape indiscernible. In the images below, I highlighted the original portion of the car and the geometric distortions that created my kit of parts. I simply rotated the original shape to start the series of distortions. 

From there, I began to arrange the parts in a way that would resemble leaf collection in a more idealized sense. I tried to range the orientations from the repetitive to the more, amorphous arrangements. Some of the shapes intersected each other to become new ways to view the forms. Instead of individualized pieces, they began to resemble a sort of cladding. It was interesting to see the various ways of which to organize the shapes, especially since I only dictated that I'd use four different variations on the original shape. 

Tile Scheme 1 - Plan

Tile Scheme 1 - Perspective

Tile Scheme 2 - Plan

Tile Scheme 2 - Perspective

Tile Scheme 3 - Plan

Tile Scheme 3 - Perspective

Tile Scheme 4 - Plan

Tile Scheme 4 - Perspective

Roller Coaster Construction - A Step in the Confusing Direction?

Roller Coaster Construction

The essence of this reading was summarized in the sentence "processes are far less constraining than ideas, which are inherently linked to extant codes that operate critically or in alignment with preexisting etymologies." Alejandro Zaera-Polo describes a design process that, by exploring the construction and engineering process, can influence the form on the building greatly. By simulating the various ways to build a project and modeling them, inputting more and more integral information, a design can continue to enhance and refine throughout the process. Instead of a metaphorical or symbolic design goal driving design of a structure, we instead explore the manufacturing processes and construction method to directly inform the form. With the various technologies available to use today, we can take advantage of their prescriptive nature and begin to model buildings down to the very detail to enhance the final end-user experience.

In hearing Zaera-Polo describe this process, I couldn't help but think of the old adage "form follows function or function follows form". I think the function and methods of the construction process, in this instance, directly influenced the evolution of the final form. This is a valuable tool, however it perhaps can take away from the artistic and poetic nature to architectural design if not handled in delicate balance. Virtual modeling should work to help define the manufacturing simplicity but I believe there should always be a remnant of the original design intent. 

Variable Alterations Through a Matrix Study

Exploration 1

In this study, I chose the back left corner of my "car" model (although the model doesn't appear to resemble much of a car, yet). I began to explore the relationship of scaling the values in the X and Y plane. The matrix starts in the bottom left corners of both images, as my original shape. I took that shape and, through the channel box, I changed the scale value in the X plane by -0.2. By doing this, the NURBS surface appears to shorten with each matrix shift away from the original. In the other direction, I scaled the value in the Y plane in the same fashion, -0.2. In this change, the object almost flattens to become more of an acute shape. 



The end product in the far corner, as expected, became short and collapsed, yet still somewhat reminiscent of the original nurbs surface. In the second exploration...

Exploration 2

In this study, the matrix starts with the original shape in the top left. Moving in the X plane, I offset the NURBS surface. I would then take that newly created offset surface and offset it again and again. Each time, this yielded a much more complex and amorphous surface. In the Y direction, I simply sheared the X plane by 0.4. 


This study yielded a FAR different product once the matrix study ran it's course. In contrast to the first matrix study, this one seemed to really explore how quickly a surface can change through a prescribed set of variables. 




Lessons Learned


Often in studio environments, form of a building is something we struggle with. Those unfamiliar with "blob" geometries and studies tend to rely on a limited set of forms and rules. Often time, we seek to precedent studies and tend to try to morph those buildings. Perhaps, through studies like these, we can take precedents we find and enter them into a matrix of form studies. Altering specific things in the building formally or functionally in a controlled setting can allow for documented studies as well as an alternative approach to design methods. 


Now, if only I could figure out this Maya program... Back to the virtual drawing board. 


TME

Continued 1a Modeling

After watching tutorial after tutorial of Maya UI explanations, I'm beginning to understand the program a little more. There are so many more modeling tools as compared to something as dumbed-down as SketchUp. For this iteration, I took profile curves based on orthographic drawings. I draped the curves in such a fashion that once I lofted a surface, it would have more curvature to it. The model previously was a simple extrusion in Rhino. I plan to continue to try to find new ways to model, perhaps consulting with some experts in the class. 

Project 1a - Digital Model (take 1)

Digital Model Views

Here is my first stab at Rhino 4.0... It's simple extrusions as defined by control point curves. I was trying to fillet edges and start to define points to edit the form, but alas I haven't found the trick yet. I want to explore working with the revolve tool and rebuilding surfaces to get far more precise on the modeling aspect. Maya has been down at the school, so I chose to use Rhino. 

Project 1a - Reading Post - February 5, 2012

"Warped Space, Art, Architecture and Anxiety in Modern Culture"

In Anthony Vidler's writing, he describes how mindset can be the very basis for how we design. He describes that there are two types of spacial warping, which are effected by our mindset. One being spatial warping derived from the psychological ideas of modernism and the second being the warping from the perspective of interweaving sets of medias. Symbolism weaved in the urban realm displayed architecturally is the connection of these two warped spaces.

This is where the article had me thinking I entered a new world. He describes "Death Cube K" which is a post-apocalyptic bar, a nightmarish space. Vidler basically paints the picture of a highly distorted and extreme idea of warped space onset by the fear of an unknown future both urbanistically and individually. 

From what I gather, Vidler attempts to define that warped space is the result of individual perceptions. These perceptions shape how we design and our overall outlook on the direction of architecture as a whole. I feel as though I will need to read this article a few more times to really digest his ideas and lessons. I found myself lost about 75% of the time, but perhaps as I move to more free-thinking, I may begin to analyze the process. 

Project 1 - Class Readings Synopsis/Reaction

"Probable Geometries: The Architecture of Writing in Bodies"

In Lynn's article, he argues about the history of architecture essentially relying on a set of defined rules and proportions about which most design is built from. Symmetry, proportion, scale, all these things define architecture and without it, architecture wouldn't be organized. These proportion systems are based off of the human body and have forever relied back to human form. Since the times of Vitruvius, pure geometric forms and proportions have been defined and repeated to maintain what is believed to be a pure design idea.

Lynn argues that the idea of "anexact" forms, which are neither exact or exact, have merit in design. Much like in writing, where there are no pure forms/geometries, we can allude to that concept to help shape the way design happens in contemporary architecture. Lynn also alludes to other disciplines that are fearlessly employing new technologies to diagram and analyze their subject fields. Geologists now can model much more exactly and readily have technology able to dissect their subject matters. The medical field use MRI technology to explore sectional views of the body that allow them to more accurately diagnose external pressures on the body. Now, more than ever we need to push our boundaries of exploration in architecture. He exclaims, "geometry has classically occupied a foundational position in architecture, and this tradition must certainly be overcome in order to exploit the effects of geometric possibilities."

I think Lynn has very good arguments in his approach to design. I think that the old ways of design and interpretation of classical proportions and "rules" should not be discarded, however. I think design can morph and change however, there is no "clean slate", so to speak, in which we wipe clean and start anew. I believe with modern technology and tools available to us, we can begin to incorporate new ideas and ways of thinking to expand our current knowledge base on design.

"Blob Tectonics, or Why Tectonics is Square and Topology is Groovy"

Lynn is aggressively trying to advocate for "blob architecture" as a viable form of design. He argues that while yes, blobs can be "alien" and all-together unique, they do conversely have the ability to accept context around. He defines three main ways to look at the blob: from a science-fiction view, the philosophical definition, and in context of the modern construction methods. Lynn goes on to define the various perspectives and how they can allow you to absorb the concept of the blob. 

He also begins to argue against those who advocate for the maintenance of the "upright oriented building". This leads to the creation of simple articulated volumes with hats, or roofs in other words. With the notion of upright orientation, one can lose the seemingly limitless possibilities of design. Instead of flat roof typology, blobs lend themselves to be more of a shed-roof form which can perhaps allow for things such as program within a roof form, thus unlocking more use in a building. 

Lynn focused much more in depth on a multitude of examples and expanded on some of the points I alluded to, however I find that blob architecture has it's merit. I also think it is also based on the situation. Some designs, programs, problems call for a certain design method. Not all architecture needs to be blob-based. I believe the blob can help to frame a way of thinking, but most certainly not govern a program to fit the needs of a philosophical approach to architecture. 

Project 1 - Precedent Image - February 5, 2012

I chose the Shelby Daytona Cobra Coupe because of it's elegant balance between sharp edges and smooth curvature. I am also partial to Shelby and it's rich history in automotive design, innovation and racing. Innovation, I believe, being the underlying tone to the course.