Exhibition - "Object_Eleven" December 19th 2009

Stereo Lithography and Mapping 2

David Hall "Internal Structure" 2009 Location - >> Art Space The Corner project From December 19th 2009 to December 30th 2009 Series two of the " Houses+Bodies" project. This "Object_Eleven" is based on the same principles as before with increased complexity of the form and mapping. Object_Eleven was the most time consuming of all the stereo lithography experiments from the Houses+Bodies series. It was also the least script driven project. Paradoxically it is the most organic and anamorphic in structure. The previous four prints in the object eleven group failed due to structural error. This was the final iteration. This installation can be seen in a 24 hour cycle from the street north of Anguk Station. The plan is to leave the projectors for the anamorphic image running the full 10 days. David Hall " Object_Eleven" 2009 " Object_Eleven" 2009 Installation

Exhibition - Houses+Bodies - December 3rd 2009

Experiments in Digital Architecture and Organic Structures
David Hall "Body Tesselation" 2008

David Hall "Parametric House" 2009


Opening Thursday 3rd December 2009 7pm
Location - Interartchannel >> Interartchannel.com

A series of objects dealing with the relationship between community and its constituent parts. These are linear extrapolations of communication technologies and the resultant physical deformations of living sentient forms. Each object represents the growth stage of the community and its occupants during their early formative life.

The gestation of each structure was approximately three months. During that time each one went through a selective process of distortion, part destruction and reconstruction with between 20 to 30 iterations along the timeline.

The governing input factors during that process equaled 50% script driven generative forms and 50% eclectic data. This eclectic data ranged from the common notions of computer controlled hydroponic systems when applied to mammals to experiential sexual adventures and their manifestations in a formal community.

All of the objects shown owe a great deal in their structure to the zoomorphic concept of the ‘Multiple’. That is to say that they are composites of many smaller and simpler units which are repeated along splines. At each repeat there is an iterative modification of the form via a code based or non linear distortion. As a result although visually complex, each is in effect an economical form in terms of overall construction data.

David Hall "Houses+Bodies" 2009

----------------------------------------------------------------------------------------------------

Preview Stereo Lithographic prints with anamorphic projection


Object Eleven V1.3 OpiumBlue 2009


Anamorphic Projection 04 OpiumBlue 2009

----------------------------------------------------------------------------------------------------

Closes January 07 2010.

Digital Form and Fabrication

Project One (Of Two)- Digital Form " Structure Development"
David Hall " Versions" 2007

Brief -

For the first 5 weeks we will be going through the basic methodology's of so called digital architecture. I will be demonstrating how to use Maya as an experimental tool.

Using data from a specified location (each student will have their own co-ordinates) we will use Maya to experiment and generate structures with specific parameters defined by the location. From this point we will produce " versions " of the structures. And by versions I mean groups of objects ( structures ) will be modified and distorted then selected objects will be chosen and sequenced into the next generation of modified structures. After a pre determined level one of these iterations will be used for the next project.

Duration
Six weeks

Final Presentation
Printed out boards of A4 size. Each student will print a series ( at least 30 ) pages of their process and versioning output.

Note
As part of the monitoring process for the output of this class each student MUST create a blog with experiments and entries being made each week.


------------------------------------------------------------------------------------------------------------------------------
Project Two (Of Two) - Digital Fabrication " Structure Output"Brief -

Self-replicating tiling
In geometry a self-replicating tiling is a tiling pattern in which several congruent tiles may be joined together to form a larger tile that is similar to the original. This is an aspect of the field of study known as tessellation. The "sphinx" hexiamond is the only known self-replicating pentagon.[1] For example, four such concave pentagons can be joined together to make one with twice the dimensions.[2] Solomon W. Golomb coined the term Rep-tiles for self-replicating tilings.

Tessellations and computer graphics
In the subject of computer graphics, tessellation techniques are often used to manage datasets of polygons and divide them into suitable structures for rendering. Normally, at least for real-time rendering, the data is tessellated into triangles, which is sometimes referred to as triangulation. In computer-aided design, arbitrary 3D shapes are often too complicated to analyze directly. So they are divided (tessellated) into a mesh of small, easy-to-analyze pieces—usually either irregular tetrahedrons, or irregular hexahedrons. The mesh is used for finite element analysis. Some geodesic domes are designed by tessellating the sphere with triangles that are as close to equilateral triangles as possible.
From wiki

From our initial models we will experiment with development software to export ( print ) the structure ready for assembly.

I expect the structures to increase in complexity and understanding each week.

Duration
Six weeks

Final Presentation
Each student will exhibit five of their best experiments.
These will be shown in a gallery or space will will organise during the semester.

------------------------------------------------------------------------------------------------------------------------------

Physical Media II

Advanced and experimental theories and techniques of analogue and digital media.

From http://cymatica.net/


Preface and Introduction

Cymatics is the study of visible sound and vibration, typically on the surface of a plate, diaphragm or membrane.
Direct ocular viewing of vibrations involves exciting inorganic matter such as particulate matter, pastes (both magnetic and non magnetic) and liquids under the influence of sound, although recent research has extended the range of media to include organic matter and the range of viewing has been extended to include the light microscope.
The generic term for this field of science is the study of 'modal phenomena,’ named 'Cymatics' by Hans Jenny, a Swiss medical doctor and a pioneer in this field. The word 'Cymatics' derives from the Greek 'kuma' meaning 'billow' or 'wave,' to describe the periodic effects that sound and vibration has on matter.
The apparatus employed can be simple, such as a Chladni Plate (a flat brass plate excited by a violin bow) or advanced such as the CymaScope, a laboratory instrument that makes visible the inherent geometries within sound and music.

From wiki

This class and projects will be about the exploration of audio driven patterns qand graphics with an intention to create an instalation.
---------------------------------------------------------------------------------------------------
Project One (Of Three) "Signal Processing"
Tim Steer “This has been a day of solid achievement”

Project One (Of Three) "Signal Processing"
Each person will buy two or more battery powered electronic
audio devices. (Must be battery powered). One will be a
speak and spell machine the other will be up to you.

Week One – Introduction
Week Two – Disassembly and initial tests
Week Three – Adding components for control and interaction.
Week Four – Circuit development
Week Five – Final presentation

Note. As well as buying electronic audio devices you will also need soldering irons and various other components.
---------------------------------------------------------------------------------------------------

Project Two (Of Three) "Cymatics and the Graphics of Sound"
Olafur Eliasson "Your Negotiable Panorama"
During this stage of the project I will teach you the basics of ableton and cubase. These programs will be used to drive an interactive Cymatic surface. This will be a five week project. We will explore physical and softeware based audio responsive components and visualisations.

---------------------------------------------------------------------------------------------------
Project Three (Of Three) "Interaction, Installation and Space"


OpiumBlue "Colapse of the Wave"

During the last part of the project each student will develop and instalation.

Note. As well as buying electronic audio devices you will also need soldering irons and various other components.




------------------------------------------------------------------------------------------------------------

NOTE - All students are required to have a blog at www.blogspot.com (not naver). Also any movie footage shot should be uploaded to www.vimeo.com. This footage should then be embedded into your blogspot. You will be expected to upload work for assessment every week.

The final output of this class will be an instalation in a pre defined space at the end of semester. Failure to present will mean fail.

You will need to have some experience with video cameras and editing software to be able to do this class.You will also need to be prepared to learn and experiment with new software.

Media Environment

Exploring spatial concepts and time through film, animation and installation.Rosie Pedlow and Joe King

Preface and Introduction

From Jerwood

Filmed on a caravan park at the end of the season, 'Sea Change' reveals a landscape dramatically transformed by light and time, and resonating with the transience of human presence. The frail, hand-painted caravans that fill the site are soon to be removed and crushed to make way for a new housing development, so the film also acts as a kind of document for an unusual place on the brink of disappearance. The film is the artists' response to place. The entire film consists of the same tracking shot, 300 metres long, filmed repeatedly at different times over a period of five days. It is closely akin to documentary in its use of camera as pure recording medium. However any semblance of narrative is rejected in favour of a framework that is at once formal and conceptual. This serves to focus the spectator's eye on the essential elements: the flatness of the landscape punctuated by caravans; the continual and dramatic changes in light; and the unrelenting passage of time.

Moog
by Motioncult

---------------------------------------------------------------------------------------------------

Project One (Of Three) "Intervention"

JanFamily "Plans for other days"

The term "Intervention" with respect to art, installation and photography essentially means the modification of an environment ( or situation ) in a very immediate way. In other words the artists arrives at a location, modify or alters it, then films or photographs the location. It requires quick creative thinking and alternatively
detailed planning depending on the artists / designers intentions. As this is the initial project I want people to research the various examples of intervention then develop their own concept or theme.

Stage One ( 2 weeks )
Research and analyse artistic intervention and modification.

Stage Two ( 3 Weeks )
Develop your own theme and film the outcome of each experiment.
Output will be video 16:9 Format with less than 3 minutes duration for each.


---------------------------------------------------------------------------------------------------

Project Two (Of Three) "Single Channel Environment"

Francis Alys "El.Gringo"

In this project we will explore POV film without edits or effects. The primary objective of the project will be to explore motion graphics in a very minimal way.
The theme of the work will be "Korean Fetish"

Stage One ( 1 week )
Research and analyse Korean fetish.

Stage Two ( 4 Weeks )
Using your research you will film environments and situations without editing or effects. Output will be video 16:9 Format with less than 3 minutes duration for each.

---------------------------------------------------------------------------------------------------

IMPORTANT - New brief here >>

---------------------------------------------------------------------------------------------------

Project Three (Of Three) "Development and Integration"

OpiumBlue "Car Park Fairy"

This will be a 5 week project using elements of the first
two projects with a brief written by yourself.

Stage One ( 1 week )
Research and outline your project brief.

Stage Two ( 4 weeks )
Realisation.
---------------------------------------------------------------------------------------------------

NOTE - All students are required to have a blog at www.blogspot.com (not naver). Also any movie footage shot should be uploaded to www.vimeo.com. This footage should then be embedded into your blogspot. You will be expected to upload work for assessment every week.

The final output of this class will be a performance in a pre defined space at the end of semester. Failure to present will mean fail.

You will need to have some experience with video cameras and editing software to be able to do this class.

Entertainment End Game

David Hall - Float 2007

Please choose a location that you feel compliments, assists or describes visually
an aspect of one your first two projects ( Korea Fetish or Visual Futurist ). Then
narrate for 3 to 5 minutes a passage from your project.
Note - This is a guide, it can be modified by you.

Format Guidelines
Resolution - As per device, however higher is clearly better.
Aspect Ratio - As per device but the letter box formats
of 16.9 usually enhance the completed film.
Duration - between 3 and 5 minutes
Editing - None
Post Effects - None
Dissemination - Upload to www.vimeo.com them embed in your blog spot.

Final Presentation
Presentation will start on June 1st and run to June 8th
5minutes movie presentation 5 Minutes question.

------------------------------------------------------------------------------------------------------------
From Final Presentations


JeongHyun Choo
A short about the collision of synthetic and analogue reality's.
Done with elegant and subtle execution.
Contact JeongHyun
seluetia@gmail.com
seluetia.blogspot.com


Sera Park
Hand Fetish and mutiple partners
Sarah861105@hotmail.com
sera-2009-1designofentertainment.blogspot.com

Visual Futurist

Dave Hall - Wyeth Modified

The linear narrative of the development and progression of a technology such as the mobile phone for example, would be present, micro/miniature, implanted. The interesting part of the concept is not the technology itself but the sociological and psychological effects of the technology. The injected or implanted communication device could lead to so called “Digital Telepathy" and this could mean the end of loneliness and also the end of privacy as we know it. In the condition of no loneliness and no privacy the design of the everyday world would take on to our eyes strange procedures and objectives.

The concept of the end of privacy in relation to architecture for example would be a very different structure than we know today.

Please take a look at one of the following and write a discourse and make an analysis of the technology and its sociological effects.

1 - The Perfect Day - When Computer simulations become real
2 - Love Hotels and Electronics - The future of Pleasure
3 - Cultural Shifts - Cinema defines the 20th century Games define the 21st

----------------------------------------------------------------------------------------------------------------------------

This is a short story by E.M. Forster. It predates most of the modern worlds communication technologies ( the internet by nearly 100 years ). However its remarkable how many elements in the story have a resonance today.

THE MACHINE STOPS
by E.M. Forster (1909)
"Imagine, if you can, a small room, hexagonal in shape, like the cell of a bee. It is lighted neither by window nor by lamp, yet it is filled with a soft radiance. There are no apertures for ventilation, yet the air is fresh. There are no musical instruments, and yet, at the moment that my meditation opens, this room is throbbing with melodious sounds. An armchair is in the centre, by its side a reading-desk-that is all the furniture. And in the armchair there sits a swaddled lump of flesh-a woman, about five feet high, with a face as white as a fungus. It is to her that the little room belongs.

An electric bell rang.........................."

http://www.plexus.org/forster/index.html

----------------------------------------------------------------------------------------------------------------------------

Digital Architetcure 009

Project 001
Digital Morphologies
Historically, a wonder of natural systems has served scientists and creative designers well. For example, Leonardo da Vincis studies of anatomy and the botanical formed the basis for both his art and his inventions. This contrasts sharply with the first half of the 20th century when the motorized machine- whether aeronautical or nautical, or a road vehicle – became the model for architecture, as espoused and illustrated by Le Corbusier in his writings. ( The photographs of his much loved machines becoming almost as famous as his buildings ). Placing mans own inventions at the apex of innovation automatically circumscribes the potential of architectural design and built form, as design becomes largely intent on the production of the single, polished set object. What mechanical system can, after all, compare with the complexity, reflectivity and responsive refinement of the geranium stem illustrated above?

There has been an increasing use of the word “emergence” in architecture, but as yet there has not been a systematic investigation of its instruments, nor has there been any real attempt to go beyond the common, but vague, definition of emergence as the properties of a system that cannot be deduced from its parts. Emergence is a consolidation of a paradigm shift that began more than 80 years ago, a profound change that has blurred the boundaries between quite separate sciences, and which has changed industry.

Extract from "Emergence: Morphogenetic Design Strategies

METHOD
This project will follow a strict guideline of procedure.

Step One
Identify and organic component ( fruit, bones, plants etc )
Slice the component into 1mm to 5mm thick sections.
These sections will then be scanned via a flat bed scanner.

Presentation will be an A1 print of all the sections assembled together.

Step Two
These bit map sections will then be imported into maya and the outlines digitised and traced in sequence. Then after all the curves have been assembled lofting and skinning will take place.

Step Three
With the skinned surface a deformation algorithm or process will be
used on the object or surface.

Step Four
This surface Will then be refined and exported to be output via the stereo lithography machine ( in our case a Zcorp 130 )


-------------------------------------------------------------------------------------------------------------
Project 002
The Multiple and Digital Fabrication
METHOD
Choose a downtown site specific location of no more than 30 meters square foot print. After the site has been chosen you will collect as much physical and historical data as possible. ( if the form of notes and movies etc ). This data will be used as a deformation or input source on a surface or particle system.

After generations the surface you will slice the section and output to acrylic via laser cut.

NOTE - In this class we will use maya as a primary digital tool

-------------------------------------------------------------------------------------------------------------
Project 001
Digital Architecture and Synthetic Space

This Project details can be found here.

-------------------------------------------------------------------------------------------------------------

Design Studio 009

Project 001 ( Duration 4 weeks )
Design for transmissionPREFACE
As you know the graphics design of remote signaling communication technology has a history going back millennia. The present day mobile phone is becoming essentially a remote visual messenger. The traditional Korean military signaling kite ( above ) was used extensively as a telecommunication device. During this short project we will analyze the symbols of the traditional kite and then design a modern set for the 21st century.

OBJECTIVE
To initialize and understanding of symbolic graphics AND a creative non linear approach to design solutions.

METHOD

Step One
CONCEPT AND EXPLORATION-( 1 week duration )
Research and analyze the symbols of the traditional kite.

Step Two
DIGITAL-( 1 week duration )
Experiment with concept, and determine a present day symbolic structure for present day communication.

Step Three
FINAL PRESENTATION -( 2 weeks duration )
I expect each person to generate their own structured symbol system, them print out on a series of kites.

NOTE : As with ALL studio briefs you can interpret yourself and approach the concept differently. For example you may wish to base your graphic project on light trails from night flying kites, its your decision.


-------------------------------------------------------------------------------------------------------------
Project 002 ( Duration 4 weeks )
Landscape and GraphicsDavid Hall Lagos suit installation 1998

PREFACE
Emerging technologies such as laser fabrication, locative media, and pervasive computing have brought about new perceptions and social interactions in urban environment, transforming the ways we experience our cities. The concepts of space, time, and social relationship in urban environment are put in flux, while there are growing interests among communities of artists viewing city as social playground, public space, fluid canvas, and invisible layers of network.
However the urban environment is not the only available location for media. Rural, seascapes etc etc can all be utilized to express and research the possibilities of Installed locative media.

OBJECTIVE
To conceptually explore the possibilities of site specific locative media and design.To enable a connection between the environment and location.

METHOD

Step One
CONCEPT AND EXPLORATION-( 2 week duration )
Conceptualise and play with methods of integrating type and fabricated graphics into landscapes that you have already researched.

Step Two
DIGITAL-(2 week duration )
Fabricate, install, photograph and DV your work. Final presentation will be through a blog record of your project.

NOTE : as with ALL studio briefs you can interpret yourself and approach the concept differently. For example you may wish to base your graphic project on light trails from night flying kites, its your decision.

-------------------------------------------------------------------------------------------------------------
Project 003 ( Duration 8 weeks )
FLOW
Motion graphics

Cornell flow function

PREFACE
Flow and fluid mechanics are a primary ingredient in all motion graphics and film. In fact the principles of fluid mechanics are present in almost all physical liquid or particle systems. In this project I want you to play with the concept of flow from a digital and analogue perspective. The end result of the project will be a 3 minute animation / movie, with a sound track ( can be beat driven it’s your choice ).

OBJECTIVE
To find visual patterns and rhythm's in the digital and analogue world that can be refined and experimented with to produce a 1 to 3 minute motion graphic for distribution via mobile phone.

METHOD
For each person the process will be different. These personal methodologies will be discussed in class.

NOTE : As this is the primary part of the class you are perfectly free to specify and proceed with your own research project. The only provision is that you write a detailed brief first.

Design for Entertainment

HR Giger http://www.hrgiger.com/

In these lectures we will look at the history and future of the design process when applied to entertainment. And by entertainment I specifically mean design outside the standard utilitarian methodologies which have dominated what text books classify as design. In other words this is a series about design driven by sociological and human desire as opposed to the usual problem solving paradigm.

1 – Introduction
A brief introduction to my work as a production designer and also to the nature of this semesters lectures. These lectures are intended to be an introduction to the area of design for the entertainment industries as well as looking at the possible directions technology and entertainment will go and how design will be a key component of new fledgling entertainment technology.

2 - The Visual Futurists Part One
3 - The Visual Futurists Part Two
Starting with the futurist movement in the begining of the 20th century and ending with the new wave of digital artists, this lecture charts the rise of the concept artist as a key player in the film and game production pipelines.

4 - A history of costume and character design Part One
5 - A history of costume and character design Part Two
From the cute to the horrific, we examine how characters and costume design have engaged and transfixed audiences, expressing emotional and psychological ideas through light and latex amongst other methods.

6 - Production design Part One
7 - Production design Part Two
The architecture of the unreal. Production designers set the special and visual tones of game and movies. The sets themselves a character of the ensamble.

* During week 7 students will be expected to hand in a title for research.
This proposal should be one paragraph in length and should analyze an artist, game, film or technology.

8 – Zoomorphic, Emergent and the next generation now
Zoomorphic presents a startling new trend in architecture - buildings that look like animals. Animal resemblances arise for various reasons. An architect may wish to create a symbol, as architects have always done. Or, there may be a functional explanation for why a building comes to share elements of its design with that of some living creature.

9 – Body Modification, Fashion, Fetishism and design Part One
10 – Body Modification, Fashion, Fetishism and design Part Two
A fetish (from the French fétiche; which comes from the Portuguese feitiço; and this in turn from Latin facticius, "artificial" and facere, "to make") is an object believed to have supernatural powers, or in particular, a man-made object that has power over others. Essentially, fetishism is the attribution of inherent value or powers to an object.

11 – Future Equations, Literature and Design
This is the tale of how science fiction and fantasy writing has influenced the course of scientific and technological research.

12 – Animation and the underground
Details to be announced

13 – Student Presentations *

14 - Student Presentations *

15 - Student Presentations and Review *

*** As part of the course each student will be expected to give a 10 minute presentation to the whole of the class of their research concerning a particular aspect of design for the entertainment industries.