Friday, May 18, 2007

Tuesday, May 8, 2007


My process thus far:
- diagram the movie
- animate the diagram
- digitally model the animation
- physically model the digital model

What emerged from this process was a set of drawings used in the constructrion of the physical artifact that were far more compelling than either the animation or the artifact itself.

My intention is to begin the process all over again, using the new, emergent diagram as a basis for future investigations.

Tuesday, May 1, 2007

Friday, April 27, 2007


ster·e·ot·o·my_[ster-ee-ot-uh-mee]_noun_the technique of cutting solids, as stones, to specified forms and dimensions.

Preston Scott Cohen’s Stereotomic Permutation attempts to reconcile the seemingly divergent orthographic and perspectival methods of projection, the result of which is a series of lavishly distorted recombinant layers. Fiver’s re-imagining of this idea as of the dichotomous pairing of perception and depiction is an effective way in which to understand an otherwise overly arbitrary idea. Replacing the word “depicted” with “experienced,” however, seems to more accurately convey PSC’s intended relationship between orthographic and perspectival projections.

With this new rubric, we can begin to understand Cohen’s intentions. Can the perception of architecture, both conceptually and physically, merge with the experience of architecture? In other words, is it possible to design a form whereby we both see and understand it simultaneously? In a sense, our brain does this already in the re-positioning of convergent lines as parallel in “our mind’s eye.” Using visual cues such as foreshortening and pattern recognition we project the equidistance of columns in a colonnade, knowing that our perspective of them tells us that they are getting progressively closer to o ne another. Our innate understanding of convergent lines allows us to understand that the column are the same height, despite the fact that we "see" them as sequentially shrinking.

Sterotomic Permutations seems an attempt to utilize this particular human trait in form generation. PSC's provocative line drawings, which read both flat and three-dimensional, revealing that perhaps the successful merging of these different projections lies in using in intersection, folding, and overlaps to create a powerful ambiguity.

In this study, perspectival effects of a simple colonnade are abstracted to a single axis, and recombined as series of layers.

Re-combinant variations redirect the investigation of perspectival (perceived) and orthgraphic (experienced) projection.

Thursday, April 26, 2007

2b_constructed morphology

The process by which this morphology was created began with creating a 3-dimensional interpretation of the animation diagram from part 1. The result is a series of layered planes which are organized into three systems according to areas of visual importance in each cut of the original video. Connecting the various planes of each systems created a literal structure derived from the visual structure of the movie. Subsequent versions used the new structure to generate a series of blobs, surfaces, and sweeps that connect various parts of the structure.

Monday, April 23, 2007