110228 - instrument

This expanded notion of materiality…liberates form from a dualist approach that separates ideas from substances, objects from subjects, and production from perception. Today, abstract and dynamic materials can be precisely measured and visualized with the aid of digital software, and merged with concrete materials used to produce the design of built forms. It allows built forms to address multiple causes and hybrid concerns, and allows us to redefine the role of function in built forms…

Farshid Moussavi 
The Function of Form, 2009

Design a form with a function – an instrument for tracking and filtering sunlight. Designing this instrument will not separate ideas from materials; it will aim to address ‘hybrid concerns’ within a particular material logic. Consider how sharkskin merges material and function while simultaneously being hydrodynamically efficient and resistant to microbial infection. Consider how Francois Roche’s building “that never dies” works as an instrument tracking the moon through the sky, and how drawings of the project associate paths of celestial bodies with geometry of the building.

Microscopic image of sharkskin
 

Francois Roche, R&Sie(n) – 

SUNLIGHT FILTER

The instrument will track and filter sunlight with a graduated series of apertures and fins. It will reflect material logics of units and strands, curving and twisting while distributing apertures and fins of varying depth. Explore potentials for the instrument to address hybrid concerns – how can it filter sunlight and simultaneously create enclosed spaces?

Construct a physical model of the sunlight filter from two-ply bristol board. Build it to the following specifications:
  • width = approx. 9”, length = approx. 18”
  • depth of apertures/fins must vary at least between 1/2” and 3”
  • apertures and fins must filter sunlight differently for different times of the day and year
  • the physical model of the sunlight filter must be rigid and self-supporting
Use Rhino to study how aperture and fin configurations control the passage of sunlight and to study how the sunlight filter is associated with geometry of units and strands.

TRACKING DOCUMENT

Develop a document tracking how the light filter controls sunlight. This document must show superimposed shadows for at least five different lighting conditions occurring at different times of the day and year. Use Rhino to render shadows from multiple views. Compose the document in Illustrator.

110221 - strand studies

Examples of curving / rotating strands built from cut and re-assembled bits of straight extruded wood molding profiles.

 Alyssa, Yoshi, Matthew, Julie
  
 
  Alyssa, Yoshi, Matthew, Julie
  
 
 Ned, Jenny B, Aimee
  
 
Sol, Girolamo, Jenny R, Abraham

110220 - (un)grounding

…one might say that the concept of “program” may dispose us to an overly operational view of the space through which our bodies acquire their trajectivity, which another less programmatic, more affective diagram might allow us to see. A new question arises: What kinds of spaces or constructions might accommodate, show, facilitate, release these ungrounded sorts of movement, encounter, connection, for example in urban spaces, and the ways in which we fill them out? What would an architecture of such trajectories and movements look like…

- John Rajchman
Grounds, 1998

In the next phase of the semester, you will be analyzing landscapes of effect and affect. Effective potentials of a landscape are grounding; they suggest a level of stability in the earth. Effect will be studied in shadows moving across the landscape. Affective potentials of a landscape are ungrounding; they suggest open-ended trajectories of bodies in space. Affect will be studied in a text mapping exercise. The aim of these analyses will be to unpack unique qualities of landscape in your project.

Day-long shadow study, top view – 
Ashish Kulkarni 

Conjugative Mass (detail) – 

SHADOW ANALYSIS

Build a Rhino model of the new smoother, more ‘surfaced’ landscape. Reflect all modifications to profiles, units and strands in the transition from wood to foam. The digital model must correspond as closely as possible to the physical model, but do not expect it to be an exact replica.

When the digital model is complete, use Rhino’s ‘One-Day Sun Study’ tool or the sun path model provided on the blog to track shadows moving across the landscape. Locate the landscape at 40 degrees north latitude, the approximate latitude of New York City. Orient the model to north and to gravity, then render shadows in selected view(s) for every 20 minutes of the winter solstice (shortest day), summer solstice (longest day) and equinox (equal day and night). Create a vertical filmstrip of small (approx. 2” high) still images for each of the three days.

TEXT MAPPPING

Refine and expand branching sentences from the first writing workshop: consider how branching organizes space and time, consider how branches converge and diverge, generate multiple alternatives for each sentence, work quickly by hand in your sketchbook, and scan selected branching sentences when complete.

Select one of the following Octavio Paz poems: As One Listens to the Rain, Axis, Spaces, The Street (find a link to Paz’s work on the blog). Using this poem as a pool of language, map text onto the river-scape. Strands of the river-scape will structure strands of text. Devise rules for relating text with notations in the map. Graphics and scale of text will be modified to reflect transforming characteristics of the river-scape. Create a high-density field of text. Text may be overlapping, but it must be legible in particular moments.  

110220 - riverscape maps

Examples of the riverscape maps.  Go here for a slideshow of all students' work.  And here for the assignment that introduced this exercise.

girolamo carollo


abraham dreazen


jenny rong


sol ok

Great job everyone, these turned out very nicely!  Now the challenge is to see how the organizational qualities found in this mapping work can inform the next phases of the project.  And of course, those of you who haven't submitted the map yet, please do so ASAP!!

110220 - sun path geometry

Here is a Rhino model of sun paths for New York City's latitude for summer solstice, equinox, and winter solstice.  You'll notice that each hour is divided into three segments of 20 mins. each.  So bring this into your landscape model, scale as necessary and render a sequence for each of the three days by placing a directional light on each point aimed toward the center of the dome.


This will be more labor intensive then using Rhino's sun animation tools, but will yield accurate results.  Hopefully it will give you a better idea of sun path geometry.  Let me know if you find any problems with the model.

110211 - limit / surface

A move away from ameliorative and scenographic designs toward more productive, engendering strategies necessitates a parallel shift from appearances and meanings to more prosaic concerns for how things work, what they do, how they interact, and what agency or effects they might exercise over time. A return to complex and instrumental landscape issues involves more organizational and strategic skills than those of formal composition per se, more programmatic and metrical practices than solely representational.

- James Corner 
Eidetic Operations and New Landscapes, 1999

Whether natural or artificial, landscapes come into being through transformational processes (such as farming, town planning, weather and plate tectonics) unfolding on their surfaces and in their depths. Though these processes may occur on time scales too long to be humanly perceptible, a landscape must be considered more a process of becoming than a fixed condition. Now working individually, you will continue transforming the landscape, testing its limits to produce surface.    

 gobi desert - image via google earth

the netherlands - image via google earth

GROUP LANDSCAPE

Before beginning individual landscapes, the group landscape and material analysis must be complete. The landscape model must be spray-painted with Krylon indoor/outdoor primer in All-Purpose Gray. This is available at Janovic and other paint/art stores around the city. Call ahead for availability.

INDIVIDUAL LANDSCAPE

Choose an 18” wide x 36” long zone of the group landscape that features at least three strand crossings and significant quantities of horizontal surface. Rebuild this portion of the landscape in foam. Modify procedures for building units and strands to produce larger amounts of smoother surface. Selectively increase the resolution of molding profile parts to increase smoothness of strands. Selectively modify (stretch) molding profiles to increase horizontally oriented surface areas. Carefully maintain transformative and combinatorial logics of the material system though all modifications.

Begin constructing your own Rhino model of this modified landscape. Reflect modifications to the material system in your own version of the group material analysis diagrams.

110211 - landscape material (julie, alyssa, matthew, yoshi)

The system that creates our group's landscape is based on the characteristics of a braided river. Each strand is created by using three different units, all put together in different ways. There are three types of strands and two different types of moldings.

The units are created by 10 to 15 individual pieces that change incrementally within each unit. We tested several oblique angle cuts to explore the ways to manipulate moldings to emphasize the profile of the moldings rather than the surface(top).

There are three primary strand that run individually to each other and secondary strands that weave under and over each of the three primary strands. After creating primary and secondary strands we end up with three bigger 'units' and the four tertiary strands are the ones that weave the entire structure together to transform individual strands into a single landscape.
Unit A was inspired by this study unit. Unit A does have curvature 
in it but the curvature is not extreme.

Unit B is quite similar to unit A but has slightly bigger curvature, 
it was inspired by this study unit.

Unit C has the most extreme curve out of three units, 
it was inspired by these study units.

110211 - landscape material (jenny b., ned, erfu, aimee)

Our landscape is based on the characteristics of a braided river in the way that it consists of several strands intertwining within each other, therefore "braiding" together to form a single project. Each strand is made up of units that incorporate incremental change by deconstructing then reconstructing to manipulate the molding profile.

Our units were cut at on oblique angle and incrementally changed in the length of the piece. With two types of strands, the primary and the secondary, we created a rule system for the strands to braid within each other systematically.There are 3 main streams (primary strands) that run “parallel” to each other, with 2 secondary strands weaving in and out. We followed the 1-3-1 proportional pattern, which is carried out by the secondary strand. With this pattern, the strands are able to braid each other in a systematic way.




Primary strand – This strand is made up of 3 similar units, forming the 
pattern AA CC BB CC AA, and was cut on a 40 and 25 degree oblique.

Secondary strand – This strand is made up of 2 similar units, forming 
the pattern A B A B and so on, and was cut on a 30 degree oblique.

110211 - landscape material (sol, girolamo, abraham, jenny r.)

Our landscape is revolves around the characteristics of a braided river. The landscape is created by systematically cutting and reattaching moulding in order to form units and later, strands. Each unit incorporates an incremental change in some aspect such as cutting the moulding at an oblique, horizontally or vertically, changing the length of each piece, or the rotation at which the pieces are being reattached at. Units are developed which are then attached to one another to create strands. The strands are then systematically braided together to form the landscape.

We have developed two types of strands, the primary and the secondary. In our landscape, the primary strands touch each other while the secondary strand braids with a primary strand and one other secondary strand.

primary strand



secondary strand

110203 - multiplicities

Multiplicities are rhizomatic…A multiplicity has neither subject nor object, only determinations, magnitudes, and dimensions that cannot increase in number without the multiplicity changing in nature (the laws of combination therefore increase in number as a multiplicity grows).

- Gilles Deleuze
Rhizome Versus Tree

A multiplicity is an organization belonging to the many.  A multiplicity is a flexible body that alters its configuration as it repeats (see images below).  A multiplicity is defined from its outside through relationships with other multiplicities.  Units and strands becoming landscapes are multiplicities.  Repetitive alterations to their configurations define transformative logics.  Relationships with other units or strands define combinatorial logics.

Four dimensional projections – 
E. Jouffret, 1903 

   Recursively patterned landscape – 
Tom Beddard, 2011 (www.subblue.com)

MATERIAL DEVELOPMENT

Transformative and combinatorial logics derived from the geometries of molding profiles, units and strands yield a type of material.  Careful maintenance of these logics – even as they are adjusted in response to the braiding diagram­ – will produce order and pattern in the material as it is worked.  Do not allow other externally defined constraints ­– size, structural integrity and opacity of the landscape – to override internally defined rules for incremental change (transformative logics) and attachment (combinatorial logics).

MATERIAL ANALYSIS

In Rhino, model the molding profiles, units and strands used to build the landscape.   From these models, develop a series of diagrams that unpack the derivation and assembly of this material. Indicate the following:
  • How analyzing curvatures of molding profiles informs cutting and reattaching parts to form units.
  • How units attach, rotate, etc. to form strands.
  • How strands braid with each other to form the landscape. 
Develop notations using line-weight, line-type, tone, nodes, vectors, cutting planes, angle indicators, etc. to communicate this information.   Develop these diagrams in groups.

110201 - the fold

Here are my note from Deleuze's The Fold - Leibniz and the Baroque. This reading is an excerpt from the book of the same name and it can be found in AD Architecture and Science.


Deleuze’s work informs contemporary notions of society, subjectivity and creativity.

He favors a world where everything is in one mode of substance, in the same level of existence. There is no good and evil, only relationships that may be desirable or undesirable to particular individuals.

Two fundamental concepts:

Difference – there is no identity, only difference
Repetition – nothing is ever the same, everything is always changing, reality is becoming, not being

Deleuze was a constructivist; he argued that philosophers are not just interpreters, but creators of new concepts. In his work he often wrote about other philosophers, radically reinterpreting and freeing them from one fixed, dominate interpretation. This was a way of setting up an ‘encounter’ that would spawn new concepts. Deleuze believed that every reading of philosophy should set up this type of ‘encounter.’ For Deleuze, studying the work of another was inspirational, a resource for developing new ideas.

The Fold – Leibniz and the Baroque, is in this spirit. Deleuze re-evaluates Leibniz and derives new concepts to characterize the Baroque period. Deleuze argues that Leibniz is the philosopher whose thinking can best inform the Baroque and vice versa, in fact he claims that one cannot be fully understood without the other.

Leibniz’s theory of the monad – the whole universe is contained or reflected within each being.

The basic unit of existence is the fold. There are elements of folding in the Baroque and in Leibniz, but only in bringing them together, does the concept gain consistency.

The Baroque refers to an operative function, not an essence (a single style or formal language).

Two types of folds: the pleats of matter and the folds of the soul.

These folds are situated in a two-level regime, with pleats of matter below and folds of the soul above. This is a diagram of subjectivity or a way of thinking about how beings are simultaneously framing and being framed by the world they inhabit.

The first level contains matter folding into itself again and again, ‘caverns upon caverns.’ There are also beings in this level; the animate and inanimate are continuously folded together.

The second level contains the immaterial aspects of our subjectivities, ‘the folds of the soul.’ This level is closed in on itself.

There is another fold between the levels, a ‘style’ of being encompassing one of the many possible worlds expressed by the beings that inhabit it.

The fold implies a recursively curvilinear model of matter – “Matter thus offers an infinitely porous, spongy or cavernous texture without emptiness, caverns endlessly contained in other caverns...”

A fluid is the absence of coherence or cohesion, the complete separability of parts. Hardness is a cohesion or inseparability of parts. A body has a degree of fluidity and a degree of hardness. Neither the Cartesian hypothesis of complete fluidity or atomistic hypothesis of complete hardness holds.

Thus Leibniz proposes a flexible body that still has cohering parts – a series of recursive folds upon folds that apply divisions to the continuous rather than break into separate or unrelated parts.

In the model of matter as folds, relations (or continuities) are folds that may be realized in multiple ways.

The multiple – one that has been folded in many ways. A multiple is not a series of unrelated parts, but a way of thinking about complexity through interconnectedness rather than divergences.

An organism is defined by endogenous folds, folds that come from within, implying a type of sensibility, intelligence or agency.

Inorganic matter has exogenous folds that are determined from without, from the surrounding environment.

People are a type of folded being, folded from within and without. Our modes of being are complicated and manners of being are impossible to predict.

Modernist ‘machines for living’ expressed the needs of the mechanical body. What spaces will be invented for the folded multiplicitous body?

Plastic forces (folds) apt to foster connections, more apt to force change and more apt to evidence a degree of cohesion. “The living organism…by virtue of preformation has an internal density that makes it move from fold to fold…”

epigenesis vs. preformation – starting from material that is unformed and gradually taking shape over time vs. individuals that adhere to a form defined in advance.

A plastic organism can fold and unfold itself, not to infinity, but to extents allowed within a particular species.

Does folding produce truly different types? Or only differentiations along a continuum?

110201 - sandstone and granite

Here are my notes from the Manuel De Landa reading Sandstone and Granite which is excerpted from the book A Thousand Years of Nonlinear History:


Meshworks (rhizomes) and hierarchies (trees).

Engineering diagrams (similar to Deleuze and Guattari’s abstract machines) are structure-generating processes.

Is it possible to go beyond metaphor and use an engineering diagram to think about the generation of both geologic and cultural formations?

Rivers act as hydraulic computers to sort pebbles of different sizes. They carry and deposit pebbles of different sizes according to the strength of the flow. For a given period, pebbles of a relatively consistent size are deposited on the ocean floor. Then another process fuses individual pebbles into a relatively permanent structure.

This two-stage process (double articulation) can be found operating in other (i.e. cultural, biological) regimes.

The formation of strata occurs in the evolution of species. Genetic material accumulates (material deposited) until a subpopulation becomes isolated and it cannot reproduce outside its group leading to crystallization.

Cultural strata form in a similar way. People are sorted according to what they can do or what they have. Then these categories are crystallized by religion or law.

This process of homogenization and consolidation to form hierarchies operates across heterogeneous regimes.

There is not as straightforward an engineering diagram for meshworks as hierarchies. The simplest type of meshwork is the autocatalytic loop which is self-stimulating and self-maintaining.

They are dynamic systems with stable states (attractors) and they grow by drift. A two-node system (two chemical reactions that catalyze each other) can grow through the insertion of a third reaction using the byproducts of those already in place. This is not a planned growth. This growth may be constrained by external factors (supplies of raw materials) but it is not designed to meet any requirements of the external environment.

Deleuze and Guattari propose a diagram of meshworks with three parts:

  • interconnection of diverse overlapping elements
  • intercalary (something inserted between) agents, a special class of operators that effects these elements
  • there must emerge some stable pattern of behavior

As opposed to sandstone which forms according to the hierarchy-producing diagram, granite forms according to the meshwork-producing diagram. Granite is produced when magma cools:
  • heterogeneous crystals interlock during cooling
  • densifications, intensifications, reinforcements, within the material bring about local articulations
  • chemical reactions within the magma bring about stable states

Granite is a self-consistent aggregate.

Gene pool of a species = stratified structure (homogenous).

Ecosystem = self-consistent aggregate (heterogeneous).

Small-town markets = self-consistent aggregate. Markets are meetings and exchanges of heterogeneous needs.

  • markets come about through an interlocking of producers and consumers
  • money is an intercalary agent
  • markets seem to produce a stable state in the cyclical variation of prices

These diagrams producing hierarchies and meshworks are relatively simple and would need to evolve and become more complex to more fully describe the functioning of biological or cultural systems. Furthermore, in reality one must deal with combinations of hierarchies and meshworks.

Alternatives to causal thinking (simple arrows going from cause to effect):

  • negative feedback (stabilizing or deviation counteracting) – i.e. thermostat, sensor triggers heat production which effects sensor, forms a closed loop in which temperature is held constant.
  • positive feedback (destabilizing or deviation amplyfing) – i.e. a self-accelerating explosion, explosion generates heat which accelerates the explosion, temperature goes out of control.

It is important not to conclude that meshworks are intrinsically better than hierarchies.