3D spatial models of Great Buildings

Title – Mark Burry. Gaudi, Teratology and Kinship.

Keywords – The Freak. Monstrosity. The Sagrada Familia. Metamorphosis. Morphogenesis. Polymorphism. Geometry. Organic architecture

Thoughts –
The Freak – yields both pleasure and horror of ourselves as beings through a simultaneous expansion and contraction of our understanding of normality, a ‘narcissistic’ delight at the shape of our own externality. Are you a freak?

Surfaces – real virtuality, where surfaces are being read as the boundaries to form, qualities that hover between the beautiful and deformed. Surfaces provide clues and threats of violation and corruption through the concealment of their potential.

Monstrosity – inhabit the domains of the natural and the supernatural.

The Sagrada Familia – established in the mid 19th century Barcelona to give voice to the Holy Family during times of profound change and increasing social dysfunction. The ‘ Cathedral for the Poor’ is dedicated to Joseph as a paragon of moral virtue and the patriarchal head of the family united. The building is gothic rigorously in both scope and layered meaning. Photos

Geometry - Gaudi employed second order geometry for the composition of portions of the Church. The fundamental characteristics for second order geometry is the way non-coplanar straight lines can variously describe warped surfaces that is masked by the apparent free-form composition. The surfaces can be fragmented into individual components which, when combined, form a seamless whole. The fundamental characteristics for second order geometry is the way non-coplanar straight lines can variously describe warped surfaces masked by the apparently free-form composition.
The animation within geometry is suspended as carved material, a static representation of kinship, variety and perfection.

Organic architecture – a problematic misnomer. Buildings in their static condition are anything but organic, free-forms are no longer free but fixed following through its translation to built building. Often organic means that the built free-form may do little more than bear characteristics that can be attributed to natural form. The gene pool. Using organic experimentation in architecture algorithms are used to generate the exact simplest morphogenetic relationship. Here is some of Gaudi's organic arcitecture

Animated hyperboloids #1 #2


Hyperbolic paraboloid, and other brilliant shapes.

Titile – Pia Ednie-Brown. The Will to Animation.

Keywords – Skin. Animation. Generative processes. Explicit movements. Emergence. Dynamic synthesis. Texture. Mould. Fold. The Process of Becoming.

Thoughts –
The Will to Animation – A concept out of Nietzche’s ‘Will to Power’. This concept is built through a capacity for supple transformations that are politic and relevant to the animated forms of power that mould political landscapes.

Animation in architecture – buildings involve explicit movement, generative processes, using animation software and notions of curvilinearity.

Skin – exhibits a willingness to remain sensitive to its engaging materials and conditions. It has the capacity to deform without falling apart and to transform without falling apart.

Texture – a tendency of variation, a variable consistency.

Mould - the rigid mould. Submissive and servile. Deviation and deformation from the mould become invalid, illegal. The politics of the flexible mould is one of an affirmation of the force of expression in its multiplicity. A mould with flexible skin.
Deleuze’s paper Postscript of Control, ‘Confinements are moulds, different mouldings, while controls are a modulation, like a self-ransmitting moulding continually changing from one moment to the next, or like a sieve whose mesh varies from one point to another”.

Folding – an object folded inside out is rotated through the fourth dimension. Actual form is immanence as it has folded out of itself.

Miss Fed.

The process of becoming – the will to animation is not a matter of rushing out to make things move, but a question of the terms through which architecture becomes animate as a technology in itself. In animation architecture realises its potential as an animated diagram; a diagram in the process of becoming.

Title - Mark Goulthorpe. Misericord to a Grotesque Reification.

Keywords - Animation. Cinematic movement. Stytlisaton. Cultural psyche. Problems in represntation. Sequence of movements. Conceptual understanding. Emerging mathematics in space - the Aegis Hyposurface. Autoplastic. Alloplastic. Misericord.

Thoughts -
Actualising the virtual : capturing the cinematic movement, and the literal capture of movement effected by a new technology. Technological change becomes intersting only as it infiltrates cultural psychology and suggests new patterns of behavior and expectation. Perhaps it is not stating the obvious to suggest that animation animates and produces an effect in us, as psychological rather than simply a physical manifestation. Consider animation in both a productive and recptive sense and may be contrasted with stylisation.

Stylisation - imposes order and approximates the living form to geometric shapes, animation brings these shapes to lifewith movement and expression.

New forms of cultural imagination, the new sense that has brought the notion of time being simply a sequence of frozen movements. The temporal sense of computer generation seems to ssuggest a much more fluid sense of animation, form held as a parametrically unstable elastic potential, a sort of conceptual trembling.

Conceptual understanding - vital to our understanding of animation effects is that the uncrtainty of response carries over from the perceptual to the emotional spere....A fresh effect depended on changes evolving based on the psychological reactions to be engaged. It is the psycological effects communicated by the electronic economy that seem to offer more potential than the image of frozen mathematics.

Aegis Hyposurface - where patterns are deployed as endlessly unstable derivatives, oscillating between hypnotic and hallucinogenic modes, the limits of optical sense, and fading between figurative and abstract patterning. The emergence and dissipation of pattern, ornament and writing is floated, travelling back and forth across modes of thought.

Autoplastic - presumes a determinate relationship between environment and creative receptive 'self'.

Alloplastic - denotes a malleable relationship that suggests a mode of cultural reciprocity.
fom autoplastic to alloplastic. a concise definition.

Misericord - A small shelf provided in the middle ages to offer respite to monks an prayer. Taditionally carpernters were given freedom to carve the invisible misercords, and used to animate monks both mentally and physically. The tactile shapes teases the contemplative imagination. In the world of animation the misericord enthuses a system of faith in frozen mathematics and seems to be a substitute for an engagement with the psychologies of perception released in the technological change.

Title - Animated Techniques : Time and the Technological Acquiescence of Animation.

Keywords - Animation as a visual prosthetic. Canvas based art Versus Animated imagery. Time. Cinematic Modulation. Software. Bernard Cache. The Physical inanimate. The freeze frame.


Thoughts -
Visual art crisis : began in the 20th century where painters explored the creative form relative to time. Using cinematic techniques. The difference between canvas based art and te technical requirements of animated imagery caused a divergence that in turn created the 'art' form known as animation. Animation has furthered the perceptual qualities of time beyond the static arts. Animation is purely cinematic, it visualises the transformation of form directly tied to processes of fabrication and economics of production. It is a by-product of working with systems of variabilty and adaptability. The art form whose actualisation trasnspired through an openness to technological change

Cinematic Modulation - the backbone of contempory time based arcitechtural design.

Animation - metamorphose freely in both form and narrative. The examination of character follows a trait that animation has become popular by the popularity of Disney studios and has mainstreamed the arrt form into popular culture.

Animation software - of the mathematical paradigm utilises the continiual advancements in mathematical understanding and calculation of form. Algorithms create a selection of animation features used by architects to ex
plore the generation of animate form. These techniques are located within the scientific realm of change where time is quantifiable and reducible.

Bernard Cache .

Change in architectural form becomes defined relative to frames of animation and time is treated as an applied dimension removed from the more traditional freeze frame.

Title - Mark Burry. Beyond Animation.

Keywords - Animation. Cinematic walk through. Architectural space and time. Movement. Film. Multi-dimentional. Morphing. Layering of space. Artificial construction. Spatial linking - the cartesian grid. Language. Illusion or reality?

Thoughts -
Animation is used as part of the development and representation of ideas.
used as a device : part of an iterative design generation or as an evaluation procedure.
used to animate real buildings : with the inclusion and automation of movement around and through the building. This is a relatively extreme process compared to the traditional physical models that place absolute reliance on our cognitive and interpretive skills.

morphological shifts : perhaps morphing from a cube to a sphere. Shifts in structural form through movement, where time is taken as the fourth dimension.

Cartesian space : space is not easily represented beyond the third dimension. Animation is used to provide evidence of the restrictions of our abilities to represent this.

Dilemmas in space : from the book 'The Third Policeman', by Flann O'Brien.
the thinness of space : a diagram on a piece of paper.
atomic theory would have us believe that an individual who makes heavy use of a bicycle will, in time, become part being part machine in proportion to the degree of exposure.
earth's shape : the earth is not spherical but sausage space; the four cardinal points of geography are just two. North and South, apparently, are essentially the same given that circumnavigation in either direction has the same outcome.

Language defined space : the world is a location where we catalogue experimental outcomes. To successfully communicate these results we need to construct a common language so that our explorations can be collected and ammalgamated.

Morphing : using a computer to adjust the characteristics in order to represent transitional states. The outcome is to lay iterative changes, collect these changes and map the environment.

Cartesian : a framework. grid. benchmark. A reference system where size, shape, orientation simultaneously define form in object space.

Language : try and verbally describe a morph!!

Animation is not a technique of illusion unless the algorithm or information was altered prior/during programming.