28 February 2011
Immaterials: Light Painting WiFi
Immaterials: Light painting WiFi from Timo on Vimeo.
This is an ingenious idea to render visible the invisible network of WiFi signals. It is even more remarkable when you watch how they made it. It seems more appropriate that they used the immaterial medium of light painting to make the strength of the signal visible. They used a 4 meter long staff with 80 LEDs.
Flickr set: here
12 February 2011
Strata #1 - Rome
Strata #1 - Rome. by Quayola
Based on the geological characteristic of layers of rock. This short film uses Processing to compare contemporary graphic generation with the iconography of classical architecture. These are really quite beautiful!
08 February 2011
"Go Figure"
http://www.nytimes.com/2011/02/06/magazine/06fob-consumed-t.html?_r=1
NYT article about adding people to Architectural renderings.
NYT article about adding people to Architectural renderings.
24 January 2011
St. Louis Gateway Redevelopment Competition - Spirit of Space
ST. LOUIS CAN SOAR from Spirit of Space on Vimeo.
Excellent video created by Spirit of Space (SARUP Alums, Red Mike & Adam Goss). Produced for the SOM/BIG/Hargreaves proposal. Great Soundtrack! It does a fantastic job of documenting the problems with the current situation they proposed to mitigate.
Perspective Lyrique
PERSPECTIVE LYRIQUE from 1024 on Vimeo.
Interesting projection mapping in Lyon, France by Architecture 1024.
19 December 2010
Diagram your Life
http://www.slatev.com/video/every-step-i-take-data-trackers-day/
GRFX designer who diagrams his everyday life
GRFX designer who diagrams his everyday life
16 December 2010
10 December 2010
i know were kinda done for the semester, but my friend just sent me this link. its a pretty rad breakdown of metal. check it out.
www.mapofmetal.com
www.mapofmetal.com
09 December 2010
12/9/2010 Questions
TUFTE READING
Pg. 160 “Another way to break free of low-resolution temporal comparisons is to show multiple slides, several images at once within the common view. Spatial parallelism takes advantage of our notable capacity to reason about multiple images that appear simultaneously within our eyespan.”
*How would this method of presentation be helpful? Is it always possible (can there be an overload of information) ?
Pg. 161 “Especially disturbing is the introduction of Power Point into schools. Instead of writing a report using sentences, children learn how to decorate client pitches and infomercials” “Student PP exercises show a total of 80 words for a week worth of work”
*How should formatting presentations be taught in school? Should it be? He suggests an illustrated essay explaining something as an alternative to PP. What are other alternatives?
Pg. 169 “For serious presentations, it will be useful to replace PP slides with paper handouts showing words, numbers, data graphics, and images together. High-resolution handouts allow viewers to contextualize, compare, narrate, and recast evidence”
*Typically for a presentation people suggest not to give too much to the audience to read because it will distract them from what the presenter is saying. Tufte suggests several times to give out hardcopies of presentations or note slides to the audience. Would this be a success fulmethod? How would using hardcopies during a presentation compare to using programs such as Word, ID, Illustrator, etc. (digital alone or with a hardcopy)
*Tufte suggests that writing sentences forces presenters to be smarter and it will make consumers smarter as well, after all we can read “3x faster than presenters can talk”. Does having sentences/too many words distract the audience, and how can we find a happy-medium?
*How can Tufte's explanation of how art historians “reason about the causes of visual presentations” influence us/our presentation methods? (art history textbooks are written as a narrative of “distinctive, clearly identifiable styles)
AGREST READING
Pg. 167 “What representation represents is another representation in a chain of signifiers that circulate from one medium to another all the while believing or letting us believe, that there is a direct referent”
*How does this relate to Agrest's interpretation of Allen's view on representation?
*How can we make sense of the “mediated character of representation itself”?
Pg. 173-Photography of Eugene Atget (Paris-urban readings) vs. Allen's opinion on the “legibility of the modern city” (representing the contemporary city)
*How do they compare in relationship to “representation”?
*How does “the narrative” come into play?
Pg. 160 “Another way to break free of low-resolution temporal comparisons is to show multiple slides, several images at once within the common view. Spatial parallelism takes advantage of our notable capacity to reason about multiple images that appear simultaneously within our eyespan.”
*How would this method of presentation be helpful? Is it always possible (can there be an overload of information) ?
Pg. 161 “Especially disturbing is the introduction of Power Point into schools. Instead of writing a report using sentences, children learn how to decorate client pitches and infomercials” “Student PP exercises show a total of 80 words for a week worth of work”
*How should formatting presentations be taught in school? Should it be? He suggests an illustrated essay explaining something as an alternative to PP. What are other alternatives?
Pg. 169 “For serious presentations, it will be useful to replace PP slides with paper handouts showing words, numbers, data graphics, and images together. High-resolution handouts allow viewers to contextualize, compare, narrate, and recast evidence”
*Typically for a presentation people suggest not to give too much to the audience to read because it will distract them from what the presenter is saying. Tufte suggests several times to give out hardcopies of presentations or note slides to the audience. Would this be a success fulmethod? How would using hardcopies during a presentation compare to using programs such as Word, ID, Illustrator, etc. (digital alone or with a hardcopy)
*Tufte suggests that writing sentences forces presenters to be smarter and it will make consumers smarter as well, after all we can read “3x faster than presenters can talk”. Does having sentences/too many words distract the audience, and how can we find a happy-medium?
*How can Tufte's explanation of how art historians “reason about the causes of visual presentations” influence us/our presentation methods? (art history textbooks are written as a narrative of “distinctive, clearly identifiable styles)
AGREST READING
Pg. 167 “What representation represents is another representation in a chain of signifiers that circulate from one medium to another all the while believing or letting us believe, that there is a direct referent”
*How does this relate to Agrest's interpretation of Allen's view on representation?
*How can we make sense of the “mediated character of representation itself”?
Pg. 173-Photography of Eugene Atget (Paris-urban readings) vs. Allen's opinion on the “legibility of the modern city” (representing the contemporary city)
*How do they compare in relationship to “representation”?
*How does “the narrative” come into play?
24 November 2010
18 November 2010
interesting mapping diagram
some guy tried to map out who owns his mortgage. interesting map and idea. not the best ever, but interesting.
http://www.huffingtonpost.com/2010/11/16/mortgage-security-chart_n_784274.html
http://vodpod.com/watch/2794864-the-third-the-seventh-on-vimeo
For those of whom have not seen this video yet, this is the third and the seventh that was made using vray renderings. I believe everything is computer except for the photographer that shows up who is the guy who made the film. It's interesting how realistic these images get.
For those of whom have not seen this video yet, this is the third and the seventh that was made using vray renderings. I believe everything is computer except for the photographer that shows up who is the guy who made the film. It's interesting how realistic these images get.
17 November 2010
Week 12 Questions: Movement
Rudolph Arnheim: Art and Visual Perception. Ch. 8-Movement
1. “At any particular moment we may not know what will come next, but we must not dismiss from our consciousness what we have heard or seen before.” Pg. 374
How does this relate to architecture? Mental maps? Viewing details of buildings?
2. “The activity of a climbing plant does not appear merely as a displacement in space. We see the vine searching around, fumbling, reaching, and finally taking hold of a suitable support with exactly the kind of motion indicative of anxiety, desire, and happy fulfillment.” Pg. 385
http://www.youtube.com/watch?v=_xMz2SnSWS4
How can we use this notion of time-lapsing to our advantage as designers, to observe otherwise static tendencies and track their nature in time and space? How can we use this knowledge to understand human behavior dynamically in process, using this as a tool to understanding motivational efforts of the people who inhabit?
3. “When we watch a man exploring a cave, his progress is experienced as a happening in space. New aspects of the cave reveal themselves I succession. Such an event, in which a physical setting provides the framework, is not really different in principle from others in which no such framework exists.” Pg. 374
How can we more readily define this succession, thus defining the mental framework for the spaces we design? Just as the dancer utilizes the entire performance to inherit a sense of emotion, how can we achieve this through spatial discovery?
4. Pg. ¬407 “The dynamic nature of kinesthetic experience is the key to the surprising correspondence between what the dancer creates by his muscular sensations and the image of ¬¬¬¬¬his body seen by the audience.”
Can this relate to the way we create architecture? We are the dancer, the dance is our architecture we create, and the audience is the user?
There are different perspectives from the dancer and the audience. Is there a way we can come to a similar conclusion of our designs? Or is that an illusion? Do we want that to happen?
Stan Allen- Notations + Diagrams
1. Crossing the line between Notation and Diagramming. First, what are they and what are the differences between them? What are some examples of each? Where does architecture fall? How does it straddle the line of notation and diagramming?
2. What is diagram architecture? “It is an architecture that takes pleasure in the immediacy and directness of procedures that often short-circuit conventional design processes.” Is this an effective way to design?
3. What is lost, if anything, when using diagram architecture? “a diagram architecture is part of a new sensibility characterized by a lack of interest in critique or the production of meaning, preferring instead immediacy, simple forms, direct accommodation of program, and the pleasures of the literal.” Pg. 53 how does this compare to the other forms of design?
4. Pg. 51 “The diagram may be the channel through which any communication with architecture’s outside must travel, but the flow of information along these channels will never be smooth. The resistance of each medium needs to be taken into account.”
Graphically, how can we begin to use diagrams as a transfer of information from other fields to incorporate their knowledge into the wider perspective of architecture, through a language that we as designers are used to?
-“Architects should work with other cultural fields, poets, musicians, sculptors.”
Juhani Pallasmaa
5. Pg. 60 “To propose a new attentiveness to notation in architectural representation is not to propose another paradigm shift…..but rather a proposal to enlarge the catalog of techniques available to the architect working in the city.” “New maps and diagrams might begin to suggest new ways of working with the complex dynamics of the contemporary city.”
How can we begin to open the catalog of techniques available to the architect, and would the world of architecture be subject to change to a new world of mediation and expressive technique? Would it be beneficial for the culture in its use [diagramming and graphical techniques]? Would they be used primarily for the designer or could the client read into them more clearly as well?
6. According to the reading, the five working definitions of notation are under the categories: anticipation, invisible, time, collective, and digital diagrams. (Pg 65-66) did these definitions help clarify the rest of the reading?
1. “At any particular moment we may not know what will come next, but we must not dismiss from our consciousness what we have heard or seen before.” Pg. 374
How does this relate to architecture? Mental maps? Viewing details of buildings?
2. “The activity of a climbing plant does not appear merely as a displacement in space. We see the vine searching around, fumbling, reaching, and finally taking hold of a suitable support with exactly the kind of motion indicative of anxiety, desire, and happy fulfillment.” Pg. 385
http://www.youtube.com/watch?v=_xMz2SnSWS4
How can we use this notion of time-lapsing to our advantage as designers, to observe otherwise static tendencies and track their nature in time and space? How can we use this knowledge to understand human behavior dynamically in process, using this as a tool to understanding motivational efforts of the people who inhabit?
3. “When we watch a man exploring a cave, his progress is experienced as a happening in space. New aspects of the cave reveal themselves I succession. Such an event, in which a physical setting provides the framework, is not really different in principle from others in which no such framework exists.” Pg. 374
How can we more readily define this succession, thus defining the mental framework for the spaces we design? Just as the dancer utilizes the entire performance to inherit a sense of emotion, how can we achieve this through spatial discovery?
4. Pg. ¬407 “The dynamic nature of kinesthetic experience is the key to the surprising correspondence between what the dancer creates by his muscular sensations and the image of ¬¬¬¬¬his body seen by the audience.”
Can this relate to the way we create architecture? We are the dancer, the dance is our architecture we create, and the audience is the user?
There are different perspectives from the dancer and the audience. Is there a way we can come to a similar conclusion of our designs? Or is that an illusion? Do we want that to happen?
Stan Allen- Notations + Diagrams
1. Crossing the line between Notation and Diagramming. First, what are they and what are the differences between them? What are some examples of each? Where does architecture fall? How does it straddle the line of notation and diagramming?
2. What is diagram architecture? “It is an architecture that takes pleasure in the immediacy and directness of procedures that often short-circuit conventional design processes.” Is this an effective way to design?
3. What is lost, if anything, when using diagram architecture? “a diagram architecture is part of a new sensibility characterized by a lack of interest in critique or the production of meaning, preferring instead immediacy, simple forms, direct accommodation of program, and the pleasures of the literal.” Pg. 53 how does this compare to the other forms of design?
4. Pg. 51 “The diagram may be the channel through which any communication with architecture’s outside must travel, but the flow of information along these channels will never be smooth. The resistance of each medium needs to be taken into account.”
Graphically, how can we begin to use diagrams as a transfer of information from other fields to incorporate their knowledge into the wider perspective of architecture, through a language that we as designers are used to?
-“Architects should work with other cultural fields, poets, musicians, sculptors.”
Juhani Pallasmaa
5. Pg. 60 “To propose a new attentiveness to notation in architectural representation is not to propose another paradigm shift…..but rather a proposal to enlarge the catalog of techniques available to the architect working in the city.” “New maps and diagrams might begin to suggest new ways of working with the complex dynamics of the contemporary city.”
How can we begin to open the catalog of techniques available to the architect, and would the world of architecture be subject to change to a new world of mediation and expressive technique? Would it be beneficial for the culture in its use [diagramming and graphical techniques]? Would they be used primarily for the designer or could the client read into them more clearly as well?
6. According to the reading, the five working definitions of notation are under the categories: anticipation, invisible, time, collective, and digital diagrams. (Pg 65-66) did these definitions help clarify the rest of the reading?
13 November 2010
site un-seen ARCH 836 Spring 2011
What if we were unable to visit a site? -- For example, for a design competition or other critical exploration. This studio will look at three different places and propose tactical interventions. These interventions are intended to enhance, amplify and raise awareness of their context. They are speculative in nature and intended to work in network with one another.
The three places that will be examined are Rome, New York and Milwaukee. Two of these we are unable to visit and one we can (Milwaukee's Inner Harbor). This studio will utilize deep analysis of these places and require students to synthesize that analysis into provocative artifacts (models and graphics). Students will engage site analysis in an active, creative way as opposed to being a distant observer or drive-by shooter. The studio will utilize indexical mapping and data visualization tools to render visible their findings.
11 November 2010
Official Google SketchUp Blog: Slicer3: Make physical site models fast
Official Google SketchUp Blog: Slicer3: Make physical site models fast
This looks like it could be a great tool. It is similar to Rhino's 'Contour' command. Creating contours of more than topo seems promising.
This looks like it could be a great tool. It is similar to Rhino's 'Contour' command. Creating contours of more than topo seems promising.
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