Sunday, May 3, 2009
Wednesday, April 29, 2009
Sunday, April 5, 2009
Resubmittal: Reading 4, not as poor?
Blobs, or irregularly-shaped organic forms (generally complex and computer generated), allow for the formal relation between the homogeneous or general to the heterogeneous or particular. Blobs reconcile the gaps in representation that traditional forms are sometimes unable to alleviate. They “suggest alternative strategies” and provide different, innovative solutions to difficult architectural situations.
Blobs possess surfaces that can’t be reduced, each is unique, and they are simultaneously alien to contextual influence while being able to be directly and dynamically informed by it. Lynn introduces “blobbiness” by likening them and their forms to the actions of blob-creatures in horror films, by philosophical definition of like surfaces, and by contemporary design techniques.
Blob monsters are similarly alien to people as blob forms are to traditional architecture. Such architectural forms are like horror film creatures in the way they behave as surfaces. They’re forms that behave like liquids with fluid movements, and a sort of surface tension and viscosity. Their similar constant state of movement and fluxuating forms shared with blob monsters is an important difference that separates them from traditional Cartesian forms. They can also “absorb” objects, not into interior cavities but into their surfaces themselves, and they fluidly interact with their environments in this liquid sense. And finally they appear as a liquidus body that is connected through a singular inteligence but can be infinitely multiplied and distributed.
These fluid entities are often described as “quasi-solid.” These have been developed digitally as isomorphic polysurfaces often called blob models. These are defined in relation to other objects and forces that have fields of influence, which the models react to. They can mutually redefine their respective surfaces based on the quality of influence in a given environment. Each such solid, or “meta-ball,” continuously acts under these circumstances as a single surface. These solids are multiplicities in the sense they have multiple internal conditions and reactions to formal forces, though they are also singularities in terms of their unified surfaces. The interacting components and levels of organization directly affect scale of simplicity and complexity of these objects. This scale and meta-ball modeling as a whole does not oppose reductive Cartesianism, but instead incorporates more subtle and complex relations of reductivism.
Blob construction fights the notion that structures must stand upright as a reaction to human structure, and therefore fights the dogma that buildings should automatically stand vertically. This was based on an early belief and ease of design on behalf of architects who were expected to be “simple, crude and upright in their approach” to designing surface and structure. With today’s technology, many architects are investigating alternative solutions Cartesian volumetric spatial identities. Shoei Yoh is one such architect whose recent work exhibits an approach to enclose a diverse set of programs under one roof with innovative techniques. Using blob tectonics, formal repetition is still used, but elaborated upon and made to interact with programmatic forces more creatively. Interestingly, computer generated information is used alongside formal modeling and diagramming in the development of these forms.
Work such as Yoh’s masks the distinctions essentially between the Cartesian and blob methods of design through the creation of a new approach that utilizes elements of both, such as “blobular” form and repetitious, Cartesian construction methods. Structural members in a project are generally repetitiously similar but not identical. Construction of such projects requires a mixture of manual and industrial assembly methods in a sort of “custom assembly-line production.” This combination manifests itself as a new unique identity incorporating both, referred to as the blob.
Blobs possess surfaces that can’t be reduced, each is unique, and they are simultaneously alien to contextual influence while being able to be directly and dynamically informed by it. Lynn introduces “blobbiness” by likening them and their forms to the actions of blob-creatures in horror films, by philosophical definition of like surfaces, and by contemporary design techniques.
Blob monsters are similarly alien to people as blob forms are to traditional architecture. Such architectural forms are like horror film creatures in the way they behave as surfaces. They’re forms that behave like liquids with fluid movements, and a sort of surface tension and viscosity. Their similar constant state of movement and fluxuating forms shared with blob monsters is an important difference that separates them from traditional Cartesian forms. They can also “absorb” objects, not into interior cavities but into their surfaces themselves, and they fluidly interact with their environments in this liquid sense. And finally they appear as a liquidus body that is connected through a singular inteligence but can be infinitely multiplied and distributed.
These fluid entities are often described as “quasi-solid.” These have been developed digitally as isomorphic polysurfaces often called blob models. These are defined in relation to other objects and forces that have fields of influence, which the models react to. They can mutually redefine their respective surfaces based on the quality of influence in a given environment. Each such solid, or “meta-ball,” continuously acts under these circumstances as a single surface. These solids are multiplicities in the sense they have multiple internal conditions and reactions to formal forces, though they are also singularities in terms of their unified surfaces. The interacting components and levels of organization directly affect scale of simplicity and complexity of these objects. This scale and meta-ball modeling as a whole does not oppose reductive Cartesianism, but instead incorporates more subtle and complex relations of reductivism.
Blob construction fights the notion that structures must stand upright as a reaction to human structure, and therefore fights the dogma that buildings should automatically stand vertically. This was based on an early belief and ease of design on behalf of architects who were expected to be “simple, crude and upright in their approach” to designing surface and structure. With today’s technology, many architects are investigating alternative solutions Cartesian volumetric spatial identities. Shoei Yoh is one such architect whose recent work exhibits an approach to enclose a diverse set of programs under one roof with innovative techniques. Using blob tectonics, formal repetition is still used, but elaborated upon and made to interact with programmatic forces more creatively. Interestingly, computer generated information is used alongside formal modeling and diagramming in the development of these forms.
Work such as Yoh’s masks the distinctions essentially between the Cartesian and blob methods of design through the creation of a new approach that utilizes elements of both, such as “blobular” form and repetitious, Cartesian construction methods. Structural members in a project are generally repetitiously similar but not identical. Construction of such projects requires a mixture of manual and industrial assembly methods in a sort of “custom assembly-line production.” This combination manifests itself as a new unique identity incorporating both, referred to as the blob.
Tuesday, March 24, 2009
Tuesday, March 17, 2009
Reading 4, let's blog some more
Blobs, or irregularly-shaped organic forms (generally complex and computer generated), allow for the formal relation between the homogeneous or general to the heterogeneous or particular. Blobs reconcile the gaps in representation that traditional forms are sometimes unable to alleviate. They “suggest alternative strategies” and provide different, innovative solutions to difficult architectural situations.
Blobs can’t be reduced, each is unique, and they are simultaneously alien to context while being able to be directly and dynamically informed by it. Lynn introduces “blobbiness” by likening them and their forms to the actions of blob-creatures in horror films, by philosophical definition of like surfaces, and by contemporary design techniques.
Blobs are like horror film creatures in the way they behave as a surface. They’re forms behave like liquids with fluid movements, and a sort of surface tension and viscosity. They can also absorb object and interact with their environments in this liquid sense. And finally they appear as matter that is singularly connected but can be infinitely multiplied and distributed.
These fluid entities are often described as “quasi-solid.” These have been developed digitally as isomorphic polysurfaces often called blob models. These are defined in relation to other objects or forces that have fields of influence, which the models react to. They can mutually redefine their respective surfaces based on the quality of influence in a given situation.
Blob construction fights the notion that structures must stand upright as a reaction to human structure, and therefore fights the notion that buildings should automatically stand vertically. This was based on an early belief and ease of design on behalf of architects who were expected to be “simple, crude and upright in their approach” to designing surface and structure. With today’s technology, many architects are investigating alternative solutions Cartesian volumetric spatial identities. Shoei Yoh is one such architect whose recent work exhibits an approach to enclose a diverse set of programs under one roof with innovative techniques. Using blob tectonics, formal repetition is still used, but elaborated upon and made to interact with programmatic forces more creatively.
Work such as Yoh’s masks the distinctions essentially between the Cartesian and blob methods of design through the creation of a new approach that utilizes elements of both, such as “blobular” form and repetitious, Cartesian construction methods. This combination manifests itself as a new unique identity incorporating both, referred to as the blob.
Blobs can’t be reduced, each is unique, and they are simultaneously alien to context while being able to be directly and dynamically informed by it. Lynn introduces “blobbiness” by likening them and their forms to the actions of blob-creatures in horror films, by philosophical definition of like surfaces, and by contemporary design techniques.
Blobs are like horror film creatures in the way they behave as a surface. They’re forms behave like liquids with fluid movements, and a sort of surface tension and viscosity. They can also absorb object and interact with their environments in this liquid sense. And finally they appear as matter that is singularly connected but can be infinitely multiplied and distributed.
These fluid entities are often described as “quasi-solid.” These have been developed digitally as isomorphic polysurfaces often called blob models. These are defined in relation to other objects or forces that have fields of influence, which the models react to. They can mutually redefine their respective surfaces based on the quality of influence in a given situation.
Blob construction fights the notion that structures must stand upright as a reaction to human structure, and therefore fights the notion that buildings should automatically stand vertically. This was based on an early belief and ease of design on behalf of architects who were expected to be “simple, crude and upright in their approach” to designing surface and structure. With today’s technology, many architects are investigating alternative solutions Cartesian volumetric spatial identities. Shoei Yoh is one such architect whose recent work exhibits an approach to enclose a diverse set of programs under one roof with innovative techniques. Using blob tectonics, formal repetition is still used, but elaborated upon and made to interact with programmatic forces more creatively.
Work such as Yoh’s masks the distinctions essentially between the Cartesian and blob methods of design through the creation of a new approach that utilizes elements of both, such as “blobular” form and repetitious, Cartesian construction methods. This combination manifests itself as a new unique identity incorporating both, referred to as the blob.
Saturday, March 7, 2009
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