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 )


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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

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Project 001
Digital Architecture and Synthetic Space

This Project details can be found here.

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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.


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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.

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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.