THANKS KEN

Thursday, January 31, 2008


If this doesn't make you crave some Steel Gym loving, I don't know what will. In its original context. Ahh, thesis surfing is fun.

JD/2008

Wednesday, January 30, 2008



One wing of Studio Office just reup'ed his personal website, which you can visit HERE. Still needs some graphic finessing, but it is what it is. At least for now...

GROUND MORPHO-LOGICS


An Architecture of Four Economies*
Excerpted Statement

The idea that the ground today has become an ecology of architecture in Reyner Banham’s sense now seems so familiar that we find it hard to imagine that this was ever not the case. But in fact this notion first arose less then a century ago. Long a subject of critical projects, the ground’s recurrent physical, programmatic, and semantic emptying rendered it a ‘mass without qualities.’ The emergence of projective practice has instigated a renewed interest in ground conditions and their inherent operative potential. Through engagements with ecology, infrastructure, and event space, architecturally developed ground has emerged as a performative catalyst defined by its operational rather than formal effects.

The research herein interrogates the potential of ground morpho-logics in the production of innovative horizontal organizations supporting new relationships between architecture and the city. Secondarily, the interrogation of ‘logics’ – rather then global strategies or procedural techniques – is purposely suspended between the general and particular, with the understanding that ‘logics’ are inherently capable of adaptation, morphogenesis, and mutation within the integrity of their original organizational code. Finally, ‘logics’ have particular immutable attributes that persist independent of morphogenesis. The research is intended to decode the potentials and limits of three ground morpho-logics: mats, fields, and surfaces, and identify zones of difference and similarity capable of supporting mutations. The accepted singularity of the three morpho-logic species will be challenged in seeking contaminated varieties and hybrid logics.

A new convention ‘grounds’ – a multi-functional program of exhibition, hotel, service, and public spaces – will serve as a test subject for investigating and deploying these mutant morpho-logics. The disparate functions and typological constraints of the convention complex traditionally rely on the 'generic' - vast container and sheds. Within this infinite sameness, where function is achieved through absence, space is as uniform as it is neutral. Operative morpho-logics and their emergent mutations are the tactics for reengaging the multivalent programmatic requirements of convention grounds and developing alternative spatial and structural organizations between architecture and the city.

*01 MICE, 02 HOTEL, 03 SERVICE, 04 PUBLIC

¡VAMANOS!


Actually that should be ¡Vamanos! Latin GSD on the web. Quick and hopefully not too dirty. Simple. Simple. Simple.
www.latingsd.com

ALL WORK AND NO PLAY

Thursday, January 24, 2008



Studio Office is at it again, taking a short break from the thesis during intersession to design two very different things. 1) a graphic identity package for (Preston) Scott Cohen, master of the hypar, and 2) an introductory curriculum for digital modeling software for 1st year design students, this based on the rhino/vray workshops at the GSD last fall.

The PSC graphic identity package is looking into subtle uses of alternate media, such as embossed pvc and foil printing (as in lotto scratch off tickets). The idea is to make a brand identity that is legible and recognizable but also simple and generic.

The digital modeling curriculum includes a series of workshops and design projects, teaching rhino and vray through the process of a series of manual and scripted algorithmic loops. The purpose of the assignments is to encourage the students' digital facility with rhino, while also introducing them to the concept of formal emergence based on operational logics. I'll post some images of the syllabus or example-projects as soon as they're finished.

DAS BOOK . . .

Thursday, January 17, 2008



...has finally been uploaded and printed You can see more of it online HERE. There's even a special shout-out in the the end to the S.O. blog team. Thanks for keeping it real, and now onto the true money-maker, the thesis (ugh).

CLARIFICATION

Saturday, January 12, 2008

for Josh's amusement...

DEADLINE DAY

Friday, January 11, 2008



and that's just about enough of that for a while

225X150 DPI

Thursday, January 10, 2008



"GREY MATTERS / Surficial Interactions Between Built-Form and Ground-Form"

It's a book cover, and I made it alls by myself! MEL script, export curves to .dwg, import to Rhino (Maya and Illustrator, not an item), export to .ai, open in Illustrator and go nuts!

1101-1816

Wednesday, January 9, 2008



this is why i love the internet

PROPOSAL

Monday, January 7, 2008



THE ZORROZAURRE ZOOLOGICAL GARDEN OF CLADISTICS:
HETEROGENEOUS SURFACE CONTINUITY THROUGH DIGITAL SCULPTING

In a time where architects have become infatuated with continuity, the digital surface has become an increasingly popular medium for design. This architectural trend has been facilitated by the adoption of software intended for a different audience. The ease of production now associated with the digital surface is reflected in the pervasive examples of architectural surface continuity found today. As both the software and the proficiency of architects using it has evolved over the last two decades, so too has the efficacy of these surfaces. Contemporary techniques have led to more architecturally capable surface continuities and heterogeneity has become easier to attain. Yet, there remain tools and techniques not yet adequately explored by architects, specifically those of digital sculptors. These methods can be appropriated by architects to effectively construct heterogeneously continuous surfaces and spatial relationships.

Digital sculpting offers a very different set of tools than traditional computer-aided design. The process is constructed around basic deformation brushes that are interactively applied to surfaces. The one-to-one act of brushing topological modifications promotes surface manipulations that change in intensity and type without the common restrictions found with deformation tools. The ease that the brushes can be modulated while doing so results in surfaces of continuous variation and therefore a high degree of heterogeneity. Workflows of layered and image-based deformation afford a great amount of control within the process. Thus, controlled internal surface transitions can be achieved without sacrificing flexible manipulation.

This process of building heterogeneity into architectural models through digital sculpting represents a fundamental shift in the design of surfaces and the spaces that they define. The tools are used to directly manipulate topology on the fly, where the mouse becomes a force that acts on the surface, rather than some tool accessed through a drop-down menu and later modulated in value or placement. Digital sculpting cuts out the middleman and engenders a fluidity within the process that places instant emphasis on the topological capabilities of a surface. A surface is no longer considered as a plane, a bridge between defining curves, an extrusion, or an agglomeration. It is now an array of flexible points in space that are freely and continuously modulated at will.

The value of digital sculpting techniques to produce heterogeneous surface continuity in architecture will be tested through the design of a zoological park. The tools will first be applied to the production of an organizational heterogeneity necessitated by the desired narrative of the zoo. The organization will involve distributing and sequencing exhibits in regard to the complex relationships of biological history. This phylogenetic approach to zoo design emphasizes relationships in a way that spatial heterogeneity and continuity can play out architecturally. Digital sculpting tools will be used to formalize these relationships as a non-linear sequence and modulate them with a language of continuous variation. They will also be used to design a network of circulatory paths that negotiate this organization in a productive manner. Moments of crossover, divergence and elevational variance will be of crucial importance to the success of the circulation system. Continuity will allow these events to merge with the formal and spatial organization of the zoo, while heterogeneity will afford them their necessary idiosyncrasies. Using the programmatic requirements of a zoo, digital sculpting can be evaluated in its ability to produce architecturally productive continuities of organization, space, surface and event.


image: Walrus, by Britta Jaschinski

OUR WORK IS NEVER OVER

Wednesday, January 2, 2008



So, there are these two girls, right? And they're all like, let's get down to our skivvies and write some stuff on our bodies and see where it all goes. K? Anyway, while they were doing it, this Daft Punk song came on the radio, and suddenly something clicked! You see, the lyrics repeat a lot and they realized they could make some sort of dance out of what they were already planning on doing...a dance to the song using the words they were writing on each other's arms and legs. It was a brilliant idea, until one of them decided to wear a non-matching sports bra and suggest they both wear aluminum foil robot-heads. Whatever, I'd still give them a high five. Girl power!

Oh yeah, and it turns out some other people have done the same thing, but without the hip-huggers: CHANG KAI CHEK IT! I wonder if anyone's gotten that stuff permanently tattooed...

Something to ponder in these last few days of thesis prep.