Tuesday, April 3, 2012

Vigorous Environments

At this point in the post, I have only gotten to the second page of text, where the concept of Vigorous Environment is being broken down into its constituent parts of vigour, environment, and the inherent ecology at play.  It seems to me that the idea of adaptation is playing heavily into the innovative threads of modern day architecture movements, and as a result, the precedent focus is shifting back to nature.  As an interesting side note, the topic of bio-mimicry is well documented on TED [ted.com], including many inspiring lectures that give foreshadowing into methods by which adaptations in nature are making appearances in technology and even building design.  For example, the whale shark has a pattern of ridges on its skin which serve 1) as protection, but also actively reduce its drag as it is moving through the water.  Think of Studio Gang's office tower in Chicago.


This is that very same technology adapted to the skin in between the floors.  The undulating form responds to the wind loads in the Windy City, and similarly reduces the impact of the wind on the building by up to 20%.  Doing so allowed for the upper floors of the tower to be utilized for office space as the skin compensates for the traditional method of including an wind damper.  Garth Rockcastle once said, "Everyday I watch the Discovery Channel, and there's always some weird animal that has some kind of weird adaptation to suit its environment."

Recombitant Sequence Physical Model





Sunday, April 1, 2012

Recombinant Sequence




This model is derived as the physical condition generated through the analysis of the camera's location in relation to the right and left side of the General Lee within the confines of a selected camera sequence.  The undulations of the surface are influenced by the original parametric surface from project 2a and a new surface condition that maps the adjacency of the camera through the scene.  The uneven spacing of the individual curves serves as indication of the intensity of the camera's movement.


Digital form of physical model

Monday, March 12, 2012



This study is a diagrammatic breakdown of the relationship between the camera and the car within the construct of the first scene of the Dukes of Hazzard.  Simplifying the constituents of the procedural sequence allows for a concise examination of the bare bones of the scene's morphology.  The next step will be to reconstruct these brief moments into a linear sequence to examine the camera's relation to the overall line.