FINAL BOARD

grasshopper final

grasshoper

05/11/2014 animation

dunk

Vince Carter Dunk

changes of control points create new geometries

I rebuilt the surface from my headphone with the two rail tool, and rebuilt it with more control points on both U and V direction, then I started to drag and rotate part of the control points.

In the first row, I just drag the control points from the top part, the middle part or the bottom part freely and see what shape it can create.

In the second row, I gave it a horizontal scale to make the pattern of the geometry more clearly.

In the third row, I started to drag single control point vertically, and tried to feel the changes in 3d view.

In the fourth row, I selected the control points in the central line of the surface, and dragged it vertically to create the ridge look geometry and make it the central part of the surface.

In the fifth row, I selected right part of the surface and rotate it, make the surface stretched and create curve vision from front view.

 I select the third list to demonstrate my changes.

 1. drag  several control point horizontally
 2. scale it
 3. single point vertical movement
 4. points on central line move vertically
 5. rotation

                                      

render view of my geometry

3d printer

Versioning Evolutionary Techniques in Architecture

"Versioning" is an operative term meant to describe a recent, significant shift in the way architects and designers are using technology to expand.

Versioning can be seen as an attitude rather than an ideology. It allows architects to think or practice across multiple disciplines, freely borrowing tactics from film, food, finance, fashion, economics and politics for use in design, or reversing the model and using architectural theory to participate in other problem solving fields.

Versioning implies the shifting of design away from a system of horizontal integration

Versioning relies on the use of recombinant geometries that allow external influences to affect a system without losing the precision of numerical control or the ability to translate these geometries using available construction technology.

Versioning can be characterized by a set of conditions organized into a menu or nomenclature capable of being configured to address particular design criteria.

Another key element of versioning is its ability to question time and its relationship to other cultural process.

Versioning advances the genetic substance of architectural design.

Versioning also extends to methods of practice where nontraditional use of architectural theory is appropriated by other disciplines.

Versioning operates at different scales of practice.

Versioning is instrumental in allowing the practice of architecture and design to return to a vertical organizational structure similar to the master builder of Renaissance.

INCHOATE AN EXPERIMENT IN ARCHITECTURAL EDUCATION

Inchoate is about to the undoing of fixed categories, it is used as an index denoting architecture's unceasingly open and unfinished state of affaires.
Implying always a beginning, teaching is about initiating excitement, it entails the deployment of pleasure.
Architecture's status as an autonomous discipline implies the demarcation of boundaries delimiting the architect's field of action.
The traditional discourse of architecture has pursued a strategy of domination with a preference for specific concepts over others disclosing an inclination for hierarchical structures as given for example by the following categories:

First: The primacy of visual appearances.
asserting the value of the final object's formal presence, has been traditionally considered paramount in the formation of architecture.
Whether priority is given to stylistic, typological, or spatial concerns, architecture's delimitation occurs within the confines of an aesthetic order.

Second: The primacy of authorship
asserting the existence of a creator architect, has been commonly considered a sine qua non of design
The personal signature, a demonstration of the value assigned to the presence of the hand, has become a commodity of architecture encouraging the notion of the artist-architect as the prime mover of the work.

Third: The primacy of the object
asserting the presence of work in its pristine condition, has been conventionally perceived as architecture's final end in itself, the designed artifact constituting the object of architect's desire.

In order to sustain itself, architecture needs to expose itself to propositions other than those circumscribed by boundaries of its discourse.

Architecture involves the investment of the specific processes for which the term praxis might be applied. Three interpretations of this term, corresponding to different modes of production, can be distinguished - interpretations founded on the technical, intellectual, and intuit aspects of design work.

Technical praxis:
Architectural design in its most literal sense may be considered a form of making, a form of production, necessitating analytical and material techniques that are put to work.
emphasis is placed on the how , on the methods.

Intellectual praxis:
Based on the notion that architecture constitutes a form of discourse, theoretical investigations are an integral part of design.
An understanding of design is promoted as a strategy for the production of thought.

Intuitive praxis:
In addition to the technical and intellectual sites of design, the domain of creative work must be examined, that is the investment of gut feeling, reveries and imagination-issues often isolated or neglected within education.

The term practice, whether pertaining to technical, intellectual, or intuitive work, adheres to production in its broadest sense as a base - mechanism determine process of flow.

change of one piece of surface

rebuild surface

Instead of cutting the surface I use different curves as the section lines to build the blue surface, it has many gaps and details to be improved.

changes2

The distortion of the first image is about the changes of scales of different axis, each row decreases progressively, using the same central plane.

The second part of distortion is based on different angles horizontally and vertically, also decreases progressively.

This is a perspective drawing of the analysis diagrams.

changes

headphone

I add some details of the black soft part of the headphone, and I also split the side surfaces, offset the blue piece, make it similar to the real object.