Carl Lostritto, Instructor
School of Architecture, Planning & Preservation
Ahmed Zaman
Annapolis: Virtual Three-Dimensional Spatial Intervention
The final result was a process of learning how to use FormZ in order to create a three-dimensional model that could be inserted into the source video from the previous exercise. I think through the process I lost the essence of establishing a datum throughout the 60 second clip. None the less, I felt the integrity of the video was strong in presenting the transition from day to night and how the intervention is received differently throughout the day.
Week 1: Creating ribbon datum in a virtual three-dimensional spatial condition.
The video from Execise 09 presents itself as a challenge for Project B because it is a moving spatial condition rather than one that is static. Therefore, any intervention pursued would have to take into account the movement of the original video. Simultaneously, the layering of both the day and night clip offer some insight on a possible intervention involving the creation of a ribbon datum that runs along the vitual three-dimensional spatial condition of the road.
Through the use of three-dimensional modeling I intend on layering a spatial datum with the actual video as it corresponds to the movement found in Exercise 09. Since the video clip is not static over time, the digital intervention would need to correspond with the movement carried out with the traffic pattern. I envision a ribbon that weaves between cars, road signs, and the surrounding landscape. The first part of the video would start with the clip during the day, and would eventually transition into the night clip. Through the transition, the ribbon datum would change in character. Depending on my own personal time constraints and progress, the ribbon could present some type of information, whether it is text or graphic images placed on the surface of the ribbon. As the ribbon moves along, the text and images would present themselves and transition through time. Maybe the ribbon can provide directives to the driver, like “stop” or “go” and have arrows that point left or right.
The intent of Project B is simple, however, I feel that the process of creating the construct will be a test of my skills in FormZ in terms of created an animation that can be layered with the original Exercise 09 clip. If this does not succeed, the datum will be created through a series of frame stills that can match the Exercise 09 clip by using Illustrator.
Bush Approval by the Media
The image above presents data regarding the Bush approval rating throughout 2008 by three major media outlets. At first I thought about having the “Approve” stay separate from the “Disapprove”, but in working in FormZ and Illustrator, I found that intersecting the two was more spatial, especially when I aggressively intersected the two polls. Below is the actual FormZ model and the FormZ model with Illustrator:
Up Close and Personal
Taking advantage of the digital model to receive some interesting points of view that cannot be accessed in the physical model.
Perspectives.
Taking from Carl’s comment, I have created some perspective views from the previous digital model. In doing this, I have found that the exterior perspectives are easier to capture in FormZ over the interior perspective, because of the dramatic transformation in the construct.
Form to Re-Form
I’ve been exploring the notion of transforming an original form into a reintroduction of the same form. Below is a set of images from the a digital model taken at different angles to demonstrate how transformation can reintroduce an original form, only to leave a permanent deformation or alteration in scale. In this model I’ve also pushed the transformation to an extreme only to find that it is harder to graphically depict the true three-dimensional identity of the model without taking several snapshots at different angles. Maybe this will be the strength of the final physical construct over the imagery and rendering found in the digital model.
OMG: Ongoing Material Growth, not Oh My God.
Below is digital construct # 1 of what I hope are many to come. I have translated developments from the physical model exploration into a digital form. I am impressed with the complexity presented in the wireframe image, but I am not so impressed with the fully rendered version to the far right. Any suggestions? Should I possibly play with the angle of light or assign certain qualities to each edge condition. Carl and I have discussed the second possibility by playing with color in the digital model and materiality in the physical model.
Week 2: Volume to Space through the behaviors of folding and adjoining.
The process shown below is a study of how solid can be inverted to void to create space. I chose to start with this initial study because at the moment I am having a hard time visualizing my intentions in FormZ. After completing this process, I feel more comfortable tackling a 3D digital model having resolved the set of behaviors described in my initial abstract, which were “fold” and “adjoin”. Below is just a fragment of what the final construct will be. The idea is to create repetition of this form, which will inform Exercise 5, by scaling up or down this form to create an overarching space.
Occupied spaces are treated as solid. 13 pieces of styrofoam are uniformly cut. This form will become void in the next set of images.
Once the solid is formed, 1 inch strips of chip are wrapped as a skin to create the form of the construct. The styrofoam is then removed to create the void that was once solid.
The final set of images presents alternatives in addressing orientation of the duplicated form to create an overarching space. I am being observant of the wide opening, the perpendicular plane, and the subtle shift in the form to see how multiple duplicates at different scales can be effectively adjoined.
Creating an Overarching Space through the Act of Behaviors
Image
to
Depth
Exercise 5 provided an opportunity to explore methods in creating depth from a flat source image. A forced perspective found in the image of a chain metal fence motivated exploring materiality, assemblage, and technique in creating the construct. By implementing this strategy, the first layer acted as an observation of critical forms found in the image. When using the laser cutter, lines were delineated as either etches or cuts to allow some planes of the drawing to become folds. Each subsequent layer in the construct was a transformation of the previous, which were then stacked on top the other to provide transition between layers.
Depth
to
Volume
Project A examines the principles established in Exercise 5 by employing behaviors used in creating depth to motivate the creation of space.
Fold.
The act of folding creates a condition that addresses the edge condition of a space. The form of the volume is dictated by each fold, which serves as enclosure. A two-dimensional shape can create space by creating a series of etchings and folding the shape to create a volumetric form. By creating a volume, the exploration in Project A deviates from the flat two-dimensional nature of each layer in Exercise 5.
Adjoin.
A series of volumes are left after each shape is folded to create an individual space. Since each volume depends on one another, these individual spaces must be adjoined to create an overarching space that conveys progression. Therefore, each volume is adjoining though stacking, intersection, and penetration.
Volume
to
Space
Once the volumes are configured and adjoined, the final objective in Project A will address the desired effect in creating an overarching space defined by the connection of smaller spaces, or volumes.
Transformation.
The greatest taking from Exercise 5 is the concept of transformation. Through the act of transformation, each volume will evolve from one extreme to another through the tectonics of adjoining. By using transformation, each volume will be a distortion of the previous, and rely heavily on the fact that the original space will transform to the absence of space. Therefore, a progression of volumes will evolve into a flat surface.
Reference.
Within each volume, different attributes will be assigned for each type of plane as a system of reference, as the form of the three-dimensional construct will evolve from one extreme to another.
Insight
Kostas Terzidis article, (Un)Folding, conveys the spirit of Project A by defining the attributes of folding as a transformation “from one dimension to another”. While the complexities of an algorithmic formula based approach is not the desired effect of the project, Terzidis provides insight on the potential the act of folding can ascribe to the creation of geometric volume, and in the process of patterning, which relies on homogeneous components, create spatial qualities.
Project A will rely on a set of behaviors that are continually used until the final product is achieved. The behavior of folding and adjoining will be used to achieve transformation and reference. Through this procedure, a series of volumes will be adjoined to create an overarching space which depletes into a single surface or plane.
Drawing Precedents
Here are some images I find inspiring in the study of 2D and 3D drawing in conjunction with having our foundations in architecture.
Painting by architect Zaha Hadid
painting by Zaha Hadid
architect Lebbeus Woods; reconstructive architecture
