PG03_100: 2009.11

2009-11-30

Maya Utsunomiya_Animanglobe_Progress

I think I am stuck.

I am trying to create a net/ mesh condition to support the volumetric object. I started to work with the nurb modeling instead of polygons because I wanted the mesh to wrap the volume with a same contour, which was hard to get with polygonal model. That was the beginning of a nightmare. More I work on modeling, things look less sophisticated... I will keep trying.

shanjida shamma ,some images

i always try to make a cocoon like structure.but the cocoon mesh r too dense.that is why i cant make them,then i try to simplify the meshes.

I just take the FORM from cocoon and then make wholes on the surface then try to make a interactive surface which will respond with the surrounding.

the structure in grounded with ramps.which is also integrated with the main structure.
landscape part and the interior is not designed yet.i will connect the main part with the ramp later by bridging.

Name: Deborah Kaiser - Valentina De Leon
Proyect Name: My Dada Nightmares
Keyterm: AFFECTIVE GEOMETRIES

We might distinguish between two kinds of spatial disposition, effective and affective. The first one tries to insert movements, figures, stories, and activities into some larger organization that predates and survive them; the second, by contrast seeks to release figures or movements from any such organization, allowing them to go off on unexpected paths or relate to one another in undetermined ways. Construction and intuition acquires different senses in the two cases; the first tries to draw all the lines of our various geometries from the fixed points of a prior system, while the second works through a more informal diagram that throws together odd features in a loose intuition that creates its own points as it goes along. Any constructed space always reveals a tension between these two types of geometries.
Once we think of the “geometries of living” along such lines, we encounter a first philosophical problem; the problem of the other, of autrui. Deleuze formulates it in an original way, connected to the question of geometry: he says that the other is the “expression of a possible world” that doesn’t exist outside the expression.
What happens when the other is not there or is “foreclosed” from possible experience is a “destructuring” or “ungrounding” that affects at once the perceiving subject and the perceptual field; other kinds of movements and forms emerge no longer fixed as definite objects given to unchanging subjects. In particular we see a loss of Gestaltist or phenomenological perceptual organization such as the relations between figure and ground, profile and unity, center and margin, length and depth, horizon and horizon and focus, up and down.
One confronts what happens when the perceptual system itself loosens up, allowing other things to happen. These are the spaces of possible “encounter” not rooted in the futilities of the search for recognition but concerned instead with the play of other possible worlds.

Architectural images:

Foreign Office Architects
Yokohama International Port Terminal
Yokohama, Japan

http://www.arcspace.com/architects/foreign_office/yokohama/yokohama_index.html

Peter Eisenman
Memorial to the murdered Jews of europe
Belrin, Germany

http://www.eisenmanarchitects.com/

Competition winner, International Garden Festival Reford Gardens/Jardins de Métis
Metis, Canada
2005

http://farm4.static.flickr.com/3454/3275554402_61bb3f62e3.jpg?v=0

Proyect Development

Genealogy

Deep into the bush // Timothée, Kai Lin

1. Timothée, Kai Lin

2. Deep into the bush

3. Animate

4. the three ARCHITECTURAL images

5. genealogy

6. project development

I kept the idea of the bush, which seems to be dangerous or unwelcoming from the outside, but inside there is a comfortable feeling coming from the sensation of protection.

2009-11-29

Anindita Leksono_Playing with the Root

Name : Anindita C Leksono
Project name : Root_Playground
Keyterm : Movement, structure and ornamentation
Architectural images:

This is my last progress:

This the newest progress, I am thinking to make a structure and a space inside of the building with root system. I think root has a nice and flexible form. The building's envelope is not just for structure and cover for the building but also for people to play or just to sit. I like my last model, but there are still a lot of available space which are not covered by the building. I am still trying to make a better pattern of root, sometimes it's not be able to make a subdi, maybe because a trouble between the points when I merge it.

Stefania Solaro, Sunday Posting

2. project name: Cocoon Playground ....or "alive nest"?

3. keyterm: Intangible Affects, Intensive Thinking

4. the three ARCHITECTURAL images

German EXPO 2010 Pavilion: Balancity-

www.expo2010-germany.com

Sunshine City Tokio

http://www.microsiervos.com/archivo/arte-y-diseno/ilusiones-opticas-arquitectura.html

Tomas Sacareno at Venice Art Biennale 09,

www.designboom.com/weblog/cat/10/view/6653/

5. genealogy

6. project development

Project Intentions, Stefania Solaro

My first inspiration was based on the cocoon model. I saw cualities in it that could have a good outcome to my project. The idea of metamorphosis and the complex boundary between the inside and the outside were concepts in which I interested me.
The analysis of the articles gave me the opportunity to reconsider and reaffirm these first intentions.
I want to use the idea of “after collage”, that means to avoid the overlapping of different techniques. The distinction and dynamism of the building are achieve by the progressive differentiation of the basic unit. This goes along with the idea of “curvilineaty”: the deformation of a geometry in a sequence that organize disperse elements. I want to have a building that provides one homogeneous background to the playing elements inside, but having dynamics effects at the same time. This can be achieved by the fusion and diffusion of the mesh, becoming more and less dense and making a not static definition of the boundaries between exterior and interior.
The initial cocoon mesh was the consequence of adding division to each face in order to get the appearance result which I thought, recreates better the cocoon form. Now I rebuild this mesh thinking of a pattern that will go more and less dense in order to get a dynamic and diverse environment both form inside and outside it. The pattern is the result of a procedure of chamfer vertex plus adding division to the faces. This rules and tools are brought together in order to develop the heritably logic that creates the “gen” or fundamental unit of the body. Even though we know that this is not how the “genetic logarithms technics” work exactly, I am looking to have an Intensive cuality as a result. This will be produced by the different net layers moiré effect. This phenomena goes beyond to the extensive characteristics, giving the illusion of movement and dynamism through something that cannot be touched in a material way but still is there.
These concepts are related to the "Affective space". The geometry gains flexibility so the visitors have the opportunity to experience an informal and individual way of interacting with the building.
The building can be lived, perceived and used in different ways as long as different people goes to it. The project legacy becomes versatile and multifaceted, having a different interpretation for each person who goes through it. The open interpretation relies on not generating a building that can be easily recognizable with other geometrical prototypes. I want to build something that can be known by “intuition rather than deduction”. All these ideas matches perfectly together with the program and the purpose of a playground: having the internal and individual exercise of going from the material (real) universe to the inmaterial (inner and surreal) world using as a mean for communicating the two of them the playing (fisical interaction) and the imagination, that only an open geometry like this can stimulate.