Tuesday, February 24, 2009
matrical analysis_02
This series is the result of a second 03 x 06 matrical study. Each row went through a single (either scale or shear) deformation in a single direction. Surfaces in the final row were rotated 30 degrees and scaled on the y-axis. For this analysis, the transformations have occurred surficially without separating and manipulating the components (vertices, faces) of the original.
matrical analysis_01
This series is the result of the first 04 x 03 matrical analysis; the only deformations occurred in the top and bottom rows, where the object was scaled in x and z direction, respectively.
Monday, February 23, 2009
"potential performative effects"
Every cultural object has a determinant history (lineage) that can be definitively traced back to a singular physical item or artifact. Rahim argues that through contemporary techniques and a deconstruction of these finite lineages, new effects emerge when observed simultaneously over time.
Memes are copied forms of behavior that as passed down evolutionarily “through a non-genetic means, usually through imitation.” It is only through both variation and selection that lineages can produce new performative effects, because both are not self-replicating. According to Stephen J. Gould, these deviations allow for cultural change. Rahim methodically traces the evolution of a computer as an example to illustrate how lineages, memes, and ideas coincide to spontaneously create an artifact. As a nonlinear process, it can be analyzed but not replicated. And in order to extract meaning from both the artifact and the organizational processes from which the object originated, it cannot be viewed as a static entity. Rahim suggests a contextual (temporal) understanding of the object is necessary, and can only be accomplished via contemporary techniques.
‘Techniques,’ as defined, is “a way of carrying out a particular task.” Rahim integrates the noun through the article in a seemingly broad manner. His lack of specificity however, is directly related to how “digital” design should operate: loosely and perhaps without an agenda. Utilizing programs to achieve a final product (image, built work, drawing) negates the ability we have to use computational power to our advantage. It is a manner of recognizing that without the systems’ capabilities, many performative effects actualized in architecture would be either ineffective or impossible.
Another critical aspect of the readings is present in the first word of the title: the potential for lineages to produce these effects versus what is actualized. What does this mean in terms of architecture? Well, by using existing temporally dependent lineages and conditions and reconstituting them within a temporally independent software program, truly “new” performative effects emerge that cannot be conceived or imagined previously. Cool.
Memes are copied forms of behavior that as passed down evolutionarily “through a non-genetic means, usually through imitation.” It is only through both variation and selection that lineages can produce new performative effects, because both are not self-replicating. According to Stephen J. Gould, these deviations allow for cultural change. Rahim methodically traces the evolution of a computer as an example to illustrate how lineages, memes, and ideas coincide to spontaneously create an artifact. As a nonlinear process, it can be analyzed but not replicated. And in order to extract meaning from both the artifact and the organizational processes from which the object originated, it cannot be viewed as a static entity. Rahim suggests a contextual (temporal) understanding of the object is necessary, and can only be accomplished via contemporary techniques.
‘Techniques,’ as defined, is “a way of carrying out a particular task.” Rahim integrates the noun through the article in a seemingly broad manner. His lack of specificity however, is directly related to how “digital” design should operate: loosely and perhaps without an agenda. Utilizing programs to achieve a final product (image, built work, drawing) negates the ability we have to use computational power to our advantage. It is a manner of recognizing that without the systems’ capabilities, many performative effects actualized in architecture would be either ineffective or impossible.
Another critical aspect of the readings is present in the first word of the title: the potential for lineages to produce these effects versus what is actualized. What does this mean in terms of architecture? Well, by using existing temporally dependent lineages and conditions and reconstituting them within a temporally independent software program, truly “new” performative effects emerge that cannot be conceived or imagined previously. Cool.
Saturday, February 21, 2009
the culprit
I've been attempting to adjust vertices today, in hopes to get a model to 3d print for tomorrow. The .stl I had ready for Friday morning had virtually no thickness, and as a result couldn't be printed. Bummer. I think this area I highlighted is one of the problematic spots, as well as at the edge where it folds. Michael suggested splitting it on the seam a few times along an isoparm. We'll see what happens tomorrow.
Tuesday, February 17, 2009
project_1a images
These drawings are a re-presentation of the air intake in the back of he vehicle. After setting down the initial contour lines, I worked mostly from a perspective view by manipulating the control points in order to maintain clear edges but keep the b-splines. The images exploit my process, to a degree, by calling attention to the points in space and their connection to (but detachment from) the object itself.
Monday, February 16, 2009
process_1a
About the time that I had drawn three longitudinal contour lines did I realize this first (bottom) iteration was not successful; it would have been better to draw the contours transversely across the car from front to back instead of bottom-up. For the second study, I looked at the air intake by focusing on a smaller volume which I could control with more precision.
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