Saturday, April 14, 2012
Project1_Tile_3D_printing
It is really exciting to see the outcome of project in rhino becomes a physical object with a pure white tone. It could be a very good way to explore spatial character. Just holding it, looking through the openings and rotating it could spur me to think further about objects and the space they generate.
Tuesday, April 10, 2012
Proj 2_ Physical Model
The model here conveys the juxtaposition of conceptual space driven by the character as well as the camera forces and the literal space where the character, Lola having her running track.
Saturday, April 7, 2012
Proj2's animation
By change some settings in Maya, the video size is now small enough to upload. The video shows recording of the character's movement from three cameras along the timeline. (Do anyone have found any good tutorial that is about rendering the animation in Maya?)
Monday, April 2, 2012
Project 2b- Recombinant Sequence
As shown in the movie, Lola Run, the movement happened in a linear time structure overall and followed a U shape spatial character. Therefore the overall form was generated based on these features. Yet, by manipulation of different cameras and collage of views, the movie actually presented a new twisted and rotated space and time relationship, of which the model states here: a wrapped surface leaning or flowing to the outer ends of the main theme, yet still rooted in the matrix due to the constrain of the original force. The ambiguity and dynamic character revealed by the form tells about the ambiguity of subconsciousness of Lola: running through reality and dream; running through time and space.
Reading notes on "Between Surface and Substance"
Important concepts and keywords from the article:
A resolution between virtual and material
superfacial style vs tectonically substantiated
digitally created visual representations of substance where an expression of material truth is potentially meaningless
conceptual art
Euclidean 1: Gaudi and the Nave Roof for the Sagrada Famflia Church
Euclidean 2: Paramorphs
http://www.sial.rmit.edu.au/Projects/Images/Digital_Mockups_Image_003.jpg
Non-Euclidean 1: Perplications
linear continuum, subconsciousness interweave
Non-Euclidean 2: Hyposurface
Introduction of Professor Mark Burry
Mark Burry is a New Zealand architect, who is currently the Professor of Innovation and Director of the Spatial Information Architecture Laboratory at RMIT University, Melbourne, Australia. He is also Executive Architect and Researcher at the Temple Sagrada Família in Barcelona, Catalonia, Spain.(source from Wikipedia)
Portfolio:
http://www.sial.rmit.edu.au/People/mburry.php
A resolution between virtual and material
superfacial style vs tectonically substantiated
digitally created visual representations of substance where an expression of material truth is potentially meaningless
conceptual art
Euclidean 1: Gaudi and the Nave Roof for the Sagrada Famflia Church
Euclidean 2: Paramorphs
http://www.sial.rmit.edu.au/Projects/Images/Digital_Mockups_Image_003.jpg
Non-Euclidean 1: Perplications
linear continuum, subconsciousness interweave
Non-Euclidean 2: Hyposurface
Introduction of Professor Mark Burry
Mark Burry is a New Zealand architect, who is currently the Professor of Innovation and Director of the Spatial Information Architecture Laboratory at RMIT University, Melbourne, Australia. He is also Executive Architect and Researcher at the Temple Sagrada Família in Barcelona, Catalonia, Spain.(source from Wikipedia)
Portfolio:
http://www.sial.rmit.edu.au/People/mburry.php
Animation_Process 2
After lots of trying, the motion path of the camera is set right and it can give the shooting frame to the character in the animation when both the character and the camera are moving together.
For this version of animation, three cameras are created. One stay ahead of the character, looking back at the character. The second one stay behind the character, trying to have the view that "Lola" had in the scene. The third one is set above the scene still, yet with the aim at the character so that it can have a good overview of the movement.
Three clips of animation are exported from Maya. Yet they are too big to upload, so how to make the animation clip smaller without losing too much quality is still a question that need to be explored.
For this version of animation, three cameras are created. One stay ahead of the character, looking back at the character. The second one stay behind the character, trying to have the view that "Lola" had in the scene. The third one is set above the scene still, yet with the aim at the character so that it can have a good overview of the movement.
Three clips of animation are exported from Maya. Yet they are too big to upload, so how to make the animation clip smaller without losing too much quality is still a question that need to be explored.
Sunday, April 1, 2012
Reading Notes on" Vigorous Environments"
Excerpt of key contetns from the article:
Design approach:
OCEAN north's approach to design emphasises, therefore, the interrelational make-up of the environment as a dynamically unfolding generative field.
Principles:
Process over events.
Relationships over entities.
Development over structure.
Goal:
Relational dynamics between material form, ambient conditions, social arrangements, habitational potential and the subject - individual as well as collective.
Feedback effect upon the intervention.
Questions:
To which degree can design control be suspended or relinquished?
How can relational dynamics be regulated without reinstigating inflexible forms of hard control?
How can the dynamics of evolving environments be facilitated to produce - in an instrumental way - responsive conditions and synergetic effects?
My thoughts:
Thinking of the change of seasons, the change of uses from different time of day or the year, how architectural forms response to those and accomodate the exact needs for space rather than a subjective rule controlled by desiners yet actually coming out of neglect of those specific points. We often say that the key trick for architects is to determine what's the priority problem to solve with sacrificing other attributes because we are limited by the economy, schedule and tools that we command. Yet with the development of more advanced manipulation tools, material and construction techniques, can we subvert the hard control design philosophy of the traditional architectural profession and lean toward a vigorous environment as the author describes here?
OCREAN north website:
http://www.ocean-designresearch.net/index.php?option=com_content&view=frontpage&Itemid=1
Key points excerpt from the article:
Design approach:
OCEAN north's approach to design emphasises, therefore, the interrelational make-up of the environment as a dynamically unfolding generative field.
Principles:
Process over events.
Relationships over entities.
Development over structure.
Goal:
Relational dynamics between material form, ambient conditions, social arrangements, habitational potential and the subject - individual as well as collective.
Feedback effect upon the intervention.
Questions:
To which degree can design control be suspended or relinquished?
How can relational dynamics be regulated without reinstigating inflexible forms of hard control?
How can the dynamics of evolving environments be facilitated to produce - in an instrumental way - responsive conditions and synergetic effects?
My thoughts:
Thinking of the change of seasons, the change of uses from different time of day or the year, how architectural forms response to those and accomodate the exact needs for space rather than a subjective rule controlled by desiners yet actually coming out of neglect of those specific points. We often say that the key trick for architects is to determine what's the priority problem to solve with sacrificing other attributes because we are limited by the economy, schedule and tools that we command. Yet with the development of more advanced manipulation tools, material and construction techniques, can we subvert the hard control design philosophy of the traditional architectural profession and lean toward a vigorous environment as the author describes here?
OCREAN north website:
http://www.ocean-designresearch.net/index.php?option=com_content&view=frontpage&Itemid=1
Key points excerpt from the article:
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