Architecture Thesis Book

MATTHEW S. GOODWIN ARCHITECTURAL THESIS: 2007_2008 BACHELORS OF ARCHITECURE CALIFORNIA POLYTECHNIC STATE UNIVERSITY SAN LUIS OBISPO KAREN LANGE, ADVISOR

SOMA District_San Francisco Bay

interactive_

MEDIA

::scape

interactive_ MEDIA ::sca[pe MATTH EW S GOODW IN ARCH ITECTURE S ENIOR TH ES IS

SOMA District_San Francisco Bay

MATTHEW S. GOODWIN ARCHITECTURAL THESIS: 2007_2008 BACHELORS OF ARCHITECURE CALIFORNIA POLYTECHNIC STATE UNIVERSITY SAN LUIS OBISPO KAREN LANGE, ADVISOR

SOMA District_San Francisco Bay

danke schon

I would like to say thank you to my professor Karen Lange for being architec-turally quirky and making funny noises to get me and the rest of studio 400-08’ through thesis, DJ Flo for keeping the Danish music pumping, and to my parents for their love and support throughout college. Cheers...

m a n i f e s t o manifesto [intent] i s s u e s issue 01 06 01_

Film + Media

Mobius Strip

Moire Pattern

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Fiber Optic Wall

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Fiber Optic Table

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[e]mergent form

Musical [e]mergence 01

Musical [e]mergence 02

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Eyebeam Museum

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Landesgartenschau

18 c a s e s t u d i e s

Le Corbusier_Karl Chu

experiment analysis

C O N T E N T S

Processed Form: FOA

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Implementing new forces to the existing makeup of an area will in turn instigate new life, social culture, events, spaces, interaction and development. Means of achieving these elements come by analyzing and mapping the underlying factors and forces of an area; i.e. demographics, history, culture, circulation, transportation, climate, context, voids, solids, noise, views, movements and uses. These forces are considered the genetic makeup of the area and produce physical and social environments.1 _{The elements combined}

produce the area itself as a manifestation of their own genetics. I see this approach to analyzing a site as a way to plot areas that may be regenerated, or in this instance, instigated to create new events that breed social interaction. As program is inserted into the analyzation of site, another arrangement to fuel social interaction can come through cross programming and indeterminate use [event space].2 _{As each of}

the instigation sites are realized, programmatic placement will lead to unpredictable social interactions. The architectural form becomes a generative process of cross-programmatic layout and genetic manipulation of the site. Therefore the physical and social architecture is an evolution manifestation of these inputs and parameters. While there are many ways to spark social interaction and events, two such mediums stick out as primary catalysts. Music and film are creative fields that not only produce creative interaction and discovery between creators, but also from their audiences as well. Music and film

1 FOA. Phylogensis foa’s ark. p. 23 2 Tschumi, Bernard. Event-Cities 2. p. 13

bring together a vast mix of people ranging from identical to polar opposites. Bringing this vast mix of people together in various levels of interaction can regenerate a creative culture and social aspect to any site, but in an even greater degree in the density of urban spaces.

Whether we realize it or not, architecture creates cultural and social changes, spaces and events. Where spaces lack these elements, a human cultural and social void is present. Urban cities that have been created with an industrial mindset tend to face this dilemma. Workers come in during the morning, work all day, and then leave the area by night. The area is only activated during the work hours and left as dead space during the night. Cities are now trying to redevelop these post- industrial areas into centers of life and culture. Architecture has the ability to spur this new sense of life in areas via social instigative architecture. Leading to this instigative effect through rigorous research of how an area’s social, cultural, historical, and physical systems work can allow mapping an urban area’s points of intensity. Where points of intensity are greatest the area is stable and full of life. Where points of intensity are lowest there is the need to regenerate and instigate. By mapping these areas we can start pulling, pushing and growing these intensity points. From points that are deemed necessary to regeneration the architecture can begin to influence and instigate this change.

So why the need for social interaction and instigation? They are a way to “generate ideas, illusions, emotions, associations and other mental

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constructs.”3 _{These generated products of social}

interaction are what push our culture to keep developing. They breed our culture and lifestyles. They are what bring people together or keep them apart. Human interaction is an absolute basis to life. The introduction of music and film to fuel this interaction is a response of how the two mediums bring people together. They are essential to our modern culture because they create inspiration, memories, and produce relaxation or energy. Music moves the mind, body and soul. It can be used to respond to our emotions. It can bring us together and push us apart. Film also brings us together, but can transport us into a fantasy realm that produces the ‘suspension of disbelief.’ The creators can begin to blend with the users and create a relationship that feeds off each other. For example, the Eyebeam Museum competition entry won by Diller and Scofidio brought together the users and creators of new media technology. The relationship of how the two interacted reversed. Creators investigated the reactions of users first hand by seeing them interact with their work, and at the same time users learned how creators worked. A deeper look into the functional relationships between user and creator are presented later in this book. The integration of music and film is an effective way to instigate social interactions in an area that begs for it.

In this thesis I aim first define the underlying the forces of the site’s genetic makeup, research techniques to augment these forces, map them, in order to implement music and film as a catalyst to instigate new social interaction and life.

3 UN Studio. “Manifesto #17.” ICON Magazine. p.81

m a n i f es t o [ i n t en t ]

ISSUE ONE

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moire patterns interactive fibre optic mobius strip Eyebeam [d+s] UN Studio Bernard Tschumi Other demographics circulation / transportation context culture / society Yokohama Terminal film+media

a camcorder filming a projector project an image of what the camcorder is filming. created a cyclical function that made an image that went into infinity due to the cycle of the camcorder filming the projector project itself. Also led to a discovery of time lapse in real time and led to the discovery of a 4d space.

taking two black plastic meshes and overlapping them, then shifting the top surface at a slight angle in both the x and z directions. led to a pattern known as the moire pattern that comes from two typical paths or patterns, but when crossed or shifted creates a new pattern or field. stemmed from the idea of Tschumi’s ‘event-fields’

simple paper studies of taking one surface with a plane on top and another plane on the bottom, then twisting the paper according to the mobius form, creating a continuous surface. labeling the sides A & B I could see the flow and interaction between the two planes.

an 15”x18” wall mount piece for the abstract show that interacted with passersby. the top 9” was a mirrored surface and the bottom 9” was black board. on each surface was an 8x8 grid of fibre optic cables.. the mirror surface cables were the input and the black surface was the output. a spotlight aimed at the mirrored surface activated the fibre optics by inputting light to the top half, then emitting light on the bottom half. a user would stand in front of the mirror, see themselves, then notice a silhoutte of themselves moving in the grid of lights on the bottom half. this installation was an experiment on how one might interact with light, technology and space. it made the user question how it worked and could inform if their curiousity insisted.

new media center for research and exhibition. diller+scofidio took two programs and interwove them to create an interactive, voyeuristic experience between the researcher and the exhibitor. want to see how they effectively brought the public into a new realm through architecture. FOA used data and studies to sculpt a land that flows perfectly with circulation and function to create a dynamic building that incorportates the user and the landscape. investigating the use of studies to generate form and how they created a great functional and public space. United Net Studio incorporates design models to achieve their ‘architecture’. Their “deep planning” principle allows them to design spaces that are based on exhausted research and studies of a sites conditions. want to understand their analytical approach to form generation and ability to engage users with the architecture on an artistic and information based level.

His “event-space” theory that you can bring two not necessarily related paths and intertwine them to create an “event field” that yields new discoveries and interactions. I want to see how we can bring together different users of an urban setting and create new spaces and interactions. How can architecture engage its surroundings i.e. space and people.

Looking at effective public spaces to see how they work. Frank E. Mahan’s thesis work and his ideas of creating indeterminate space that is flexible to numerous users in an urban setting. Zaha Hadid’s ideas of connections and engagement of space and its surroundings. Any example of where architecture instigated or engaged multiple users of an urban setting.

what is the nightlife, daylife, mornings, evenings, afternoons like in the SOMA district. then what about during a sports event, or a convention show. there is a massive flux of people, how does it affect the region. investigate the slippage effect of the businessman to the nightman.

new lofts, restaurants, shopping, development. existing building uses and their activity rates. time -program analysis of these spaces and their effect on the area. how does the area fluctuate, move. how often are cabs, city buses, the metro lines, nearby train stations.

How does this mass transit affect an urban downtown area like San Francisco. How do people move around and through the site.

what range of people live in the area. what is their cullture they bring with and their professions. what can be learned from the residents and their lifestyles and views towards the area they live. what can engage them and outside residents to instigate a more lively ‘downtown’ area.

completed

in progress

How can intense site studies and programmatic research instigate an architecture that creates a new lively and social downtown atmosphere in the SOMA district of San Francisco, California that engages the public and creates interactions with themselves and their surroundings.

connections

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1. Karl Chu, Genetic Space Le Corbusier, Villa Savoye 3. Le Corbusier, Carpenter Center

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Critical Position

[Corbusier_Chu]

The following is a reaction to Kenneth Frampton’s discussion of Le Corbusier in “Le Corbusier and ‘l’Esprit Nouveau’,” from his book Oppositions: Le Corbusier 1905-1933 and Karl Chu’s manifesto “Genetic Space” which Karen Lange provided us.

Architecture within the last one hundred years has changed dramatically with the advent of

computers. The architect of the early 20th _century

determined architecture is influenced by space, time and movement and creates the relationship

between them. Architects of the 21st _century

are delving into the biological sciences and how architecture may grow organically by its own means. While both architects create space, the means to achieve this space has significantly changed. Le Corbusier of the early 1900s believed the human and their environment was the ultimate element of architecture. The architecture was a response to how people used and interacted with their environments. On the contrary, the contemporary architect, Karl Chu writes in his manifesto Genetic Space that we are at a turning point in architecture; where architecture will grow from itself using the convergence of genetic information and computation.

“The goal is to engineer a new species from

scratch.”1 _{Karl Chu presents a radical idea}

that through the convergence of genetics and computation we are at a threshold of a new civilization where everything will spawn from the intrinsic properties that make up physical universe, like mathematics, physics, philosophy

and metaphysics.2 _{He cites that we have the}

ability to transform genetic make-ups and create 1 Chu, Karl. “Genetic Space”

2 Karl Chu’s profile on Columbia’s website

new biological species. He re-conceptualizes the architectural process and believes the new design process must grow from itself like an organic system. He believes it will become a generative process that will be derived from the vast matrices of information our world thrives on, and

the realization of biogenetics.3 _{This architecture}

will grow organically from its own internal and metaphysical forces. There would be no influence from the past, because the architecture would be growing with the forces that affect it at the exact time it is growing. Karl Chu’s re-conception of architecture sharply contrasts Le Corbusier’s work of the early 1900s. Corbusier believed architecture is developed to accommodate the human body, where Chu believes architecture needs to be a replication of how the human body’s biology develops.

Le Corbusier set up a system for architecture that he titled the “Five Points of Architecture.” They included the following; pilotis, a free plan, open facades, ribbon windows and roof gardens. The pilotis elevated the building mass off the ground, the free plan opened up spaces, the free facades were the vertical sibling to the openness of the free plan, the ribbon windows exploited the free façade, and the roof garden brought the green space occupied by the building on the ground level

up to the roof level.4

At Villa Savoye Le Corbusier lifted the home above the ground level on pilotis, thereby freeing the ground floor for workspace and car parking. The second level then became the living floor with a living room, kitchen, bedrooms, and an outdoor 3 Chu, Karl

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courtyard. A ramp then connected the second floor to the third floor that led to a rooftop garden. His inspiration came from his interest in the monk’s residences at Charterhouse of Ema. At the Charterhouse, the working space was located on the first floor, with living and praying space on the second floor. This separation inspired Corbusier

to experiment with his new housing type.5 _By

lifting the home and setting it on thin columns, using ribbon winds to wrap the second level, and thin walls, he gave the home a light, floating appearance. The movement from an open free plan on the ground level, to an outdoor/indoor space on the main level, and eventually ending in a procession up to the roof level creates a dynamic experience through the space.

Furthering Corbusier’s ideas of people movement through space and time we can look at the Carpenter Center at Harvard University. The site of the building was an existing open space that was a major diagonal circulation thoroughfare for students and faculty. The center was programmed for the department of Visual and Environmental Studies, as well as the Harvard Film Archive. Corbusier took this opportunity of existing movement and incorporated it into the program for the center. He designed a ramping walkway that fed from the existing circulation path, and made a diagonal cut up and through the second level of the building. This ramping walkway brought students and faculty into a building that they would not necessarily access. As they pass through the building, they encounter the visual arts facility and people getting ready for performances or studying the arts. This instigated a new relationship and 5 Frampton, Kenneth

awareness for students and faculty in different disciplines. Again we can see Corbusier’s work as a dynamic catalyst for people movement through space. Bernard Tschumi also later examined this notion of indeterminate interaction amongst users in his work on event space.

Bernard Tschumi invented the term event-space; space where events occur as an indeterminate set of unexpected outcomes. Tschumi presents the example of how event space can be achieved, “one may combine or assemble programmed activities so that they charge a spatial configuration in such a way that, by mixing otherwise common or predictable programmatic items, they generate

uncommon or unpredictable events.”6 _{He has also}

coined this configuration of spaces the in-between areas. Unpredictable events can include the movement, mixture and dispersal of a crowd, the crossing of paths of two different and discovery of new spaces and views. What remains important is these unpredictable events, are unpredictable, and a seemingly infinite amount of different events may occur in the space. One might ask, what makes the unpredictable events architecturally interesting and stimulating? These events spur interaction between people and space which may lead to new social interactions, relationships, possibilities and discoveries of the architecture and the site itself that, had the determinate programs been established, might have never occurred. The associated design elements and ideas of Corbusier’s work are what initially inspire me for my senior thesis. Through developing circulation spaces that moved up, across, around and through space, Le Corbusier was able to create not only a 6 Tschumi, Event-Cities 2

1. Carpenter Center diagram showing circulation path intersection 2. Exploded view of Parc de la Villete’s program, field and movement diagram 3. Parc de la Villete, Bernard Tschumi

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dynamic experience but a interactive one as well. Tschumi’s works on creating in between spaces that instigate events are also an inspiration. In my thesis project I want to create and instigate these interactions in places that would not typically exist. Through site and programmatic research I will implement spaces, which by my determination, will spark new interactions and social spaces between users not typically brought together. Circulation spaces will bring together all types of people in all different fields and link the different instigation sites. Corbusier and Tschumi’s ideas of space and movement will be fused with current and future methods to conduct site research, and to determine how form can be generated and be the generator of these spaces and events. They will take into account programmatic relationships, spatial relationships, structure, mechanical, and other essential architectural ingredients.

I will, however, also implement issues Karl Chu has been examining. The idea of organically growing and generating an architecture that responds to internal information will help me grow my instigation sites. The sites will be generated from their internal forces as well as their external forces such as location, demographics, culture, existing circulation, transportation, context, climate, access and views. However much I do agree with Karl Chu and his forward thinking processes, I must add that I still believe there must be a human element to spatial definition and creation in this organically grown architecture. Millions of iterations can be run through computer models to produce the most efficient and spatially intriguing form, but it must be tweaked and molded by the human hand to remain good architecture.

In my surface mapping and emergent experiments,

which are discussed later in the book, I began to touch on Karl Chu’s ideas. A code was set up that contained underlying information, similar to a genetic code, when the code’s information was exposed and computed, a form was produced that inherited the code’s information. Like Karl Chu’s philosophy of forms generated from the convergence of underlying genetic information and computational techniques, the experiment drove to map an area through the areas underlying information, then write a code that could produce a form that was not initially apparent. Only through analyzing the given information parameters, was the underlying form given life. This can fuel into my thesis by way of mapping the site and its inherit information. The application of these principles is described in more detail in my experiment reflection dialogue.

Reading these two articles instigated me to investigate other examples of current works and how I can begin to produce and research experiments that implement these design philosophies. Corbusier’s movement through space combined with Chu’s organic architecture can produce an architecture that grows from its site and creates a dynamic experience for its users and surroundings.

1. Event Space Field diagram; AB417 Society Think Tank 2. Karl Chu’s dance center. Derived from analytic information of dance 3. Rendering of generative information surface mapping experiment

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Critical Research

[FOA]

The following is a research paper I wrote in an attempt to understand FOA’s design techniques through the use of an open-diagram and intense computer modeling that enfolds all internal and external factors of a project into a design tool.

Processed Form:

FOA’s Open Diagrammatic Design

“A diagram prescribes performance so at anyone time you are making a number of decisions. It describes a relationship across a number of parameters, but it is not metric. You can add other parameters to it; you can stretch it. You revisit it constantly and analyze it. You make decisions constantly while allowing for re-evaluation and evolution.” – Farshid Moussavi

An interest in a temporal based architecture that involved discovery and experimentation rather than the production or perfecting of what they already knew, Farshid Moussavi and Zaela Polo of Foreign Office Architects (FOA) use the open, flexible nature of the diagram and its ability to prescribe performance and continually develop, as well as the increasing power of the computer to analyze complex systems of information, to create an architectural language that would be open to the specifics of each project, while maintaining an overall design model that could be applied to any context. After almost a decade after they opened their office, FOA was commissioned to do a series of shows around the world that displayed their work over the past ten years. This gave FOA an opportunity to produce a fresh view of their work. Concerned with the ideas of an architectural language and authorship, they wanted to research whether or not their use of the diagram and their open/flexible approach to the specifics of each project produced a series of common traits.

What resulted was a classification system of their projects, similar to ones found in plant and animal biology, that listed a series of 7 families whom of which described a set of traits that could be found in each project. Each project was then labeled a species, as each project built on top of each other, inheriting these architectural traits that evolved over the ten years they had been practicing. This immediately put FOA into the contemporary wave of an interest in the biological sciences. What remains important is their interest in the use of an open-diagram that can include the specifics of each project, but remain an open-ended design tool for a wide variety of projects. I will critically analyze FOA’s biologically influenced project classification system, as well as the accompanying rhetoric and reasoning, and finally explain why the use of the diagram is a successful and intriguing performance-driven architectural design tool. In biology, classification systems are set up to include a family, then individual species within that family. The key to this is the activity of reproduction, where species of the same group reproduce with one another and produce offspring, who will inevitably inherit the traits of its parents. The offspring’s traits go through a morphogenetic process where the traits they received from their parents, evolve into a new set of altered traits. These new traits are a result of the species adaptation to its environment and its specific needs. This process is known as evolution, where the species is changing over time to better adapt to its environment, or in other terms improve its performance. This system produces an information feedback loop, where the traits are constantly evolving and checking themselves in their environments to see what works best thereby improving performance. The species is the carrier

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1. FOA”s Architectural Surface ‘families’ and their general characteristics. 2. FOA’s Classification System [taxonomy] of their projects 3. A taxonomy example of animals

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of this information, to test what works and what doesn’t.

FOA used these principles as a metaphor to classify their projects, and better understand the common traits that each project, or species, exhibited. They could not do this until they had a population of projects to classify and gather each project’s respective traits. This was a powerful move for the firm as they moved away from describing their projects as types, and into labeling them as species. FOA argued the use of types (e.g. residential, civic, commercial) was too static and did not properly describe their work. Species, on the other hand, “are sets of morphological relations that vary across time and space, and therefore offer a much more effective tool to operate within a constantly shifting environment,” (Moussavi, Phylogenesis). These traits are diagrams of architectural surfaces that each exhibits different behavior and characteristics. Each of these architectural surfaces diagrams is grouped into 7 separate families, which are function, faciality, balance, discontinuity, orientation, geometry, and diversification. Within each family, there are several differentiated types of their respective surface diagram. For example, under the function family, there is the “ground” surface and the “envelope” surface. The ground is a flat surface diagram whose primary function is the construction of a connected ground. The envelope is a tube surface diagram whose function is to enclose space or surfaces. The projects, or species, are then products of these surface diagrams. As FOA created the classification system, they created their own information feedback loop by testing the projects traits, and seeing how they interact with their environment, program, users, structure and material. If one

succeeds, then it might be carried to another project. For instance, in their Yokohama Port Terminal project they used timber to create a massive public landscape that would be used by hundreds of different types of users from skateboarders to picnickers. In a later project in Barcelona that called for another massive public space, they decided to use large interlocking pavers because they had learned from the previous project that timber could not withstand the abuse of a large public space where people would be walking, running, biking and skating over. Through the use of a new performance driven material they created morphology of their architectural surface diagram. Setting up a system of classification where they map lineages through each project, they are successfully able to develop a way to see what works and doesn’t, as well as identifying possibilities they have not yet explored. But why use the rhetoric of architectural families, species, and growing. The immediate assimilation is to biology, which also happens to be a major contemporary topic in architectural discourse. Over the past thirty years architectural discourse has looked at biology and the computer’s ability to simulate biological processes. Architects could create models that would incorporate spatial, temporal, programmatic, structural, environmental, social, cultural and economic factors. As soon as this was the topic of the time, firms across the world began to relate their work to that of biology. We see firms like Emergent, Patterns, Zaha Hadid, Xerofirotarch; amongst others discussing and producing work and creating names that resemble what we see in the natural world. These firms are well known because of their names and what they are searching for, but even more so because of the popularity and interest we

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1. FOA;s Yokohama Port Terminal. 2. Detail of timber construction. 3. Detail of stone paver construction.

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see in the current architectural discourse. Along with a biological obsession, there is the obsession with the ability of the computer to produce models where the architect can input information and begin to script a project. Through a series design models, firms like U.N. Studio and FOA can take a specific design model that might fit the parameters of a certain project. Aside from the architect’s personal interests and ambitions in architecture, the rhetoric contemporary architects use, is aiming at a need to authorize their work, and in our capitalist society, sell it. It stems from the internal needs to create organization, coherence and signature within a firm, as well as external needs to market, sell, and control a firm’s work, and if possible, the contemporary architectural discourse. In FOA’s case, the classification of their projects into families and species, however metaphorical it might be, adds a signature to their work that captures the current biological discourse, and sets them apart from other firms using the design model technique. Another trick FOA uses besides their design models, and biological rhetoric, is in their own name. As they describe themselves as “a medium to augment a site’s forces,” (Moussavi, ICON) we see their name as Foreign Office Architects. Being foreign to their project-species they create, they remove culpability of their work. They are still responsible, but they begin to remove themselves and let their projects and process take the spotlight.

In projects on large urban scales where the public is a major factor, and the need to control space, flows, materials and users, is there a way to produce an architecture that responds to these mass amounts of factors, and within this process what can be done to work efficiently with all this information to produce a space that maximizes

use as well as creates a process that evolves over time to produce this efficiency. Diagrams are able to incorporate flows of people, programmatic and spatial considerations, environmental factors, material characteristics and structural systems, all of which respond to each other and begin to create a system that is constantly changing and evolving at each point of the diagram. This inherently involves temporal strategies to deal with the change of these factors over time. Architecture does not literally spring from a diagram, so it must not be construed that a vector line on a computer will be the floor plane of a building, or that the diagram will produce the structural and material system. But rather, it will be where an architectural surface will correspond with a programmatic concern, which will connect with a circulation use, and then the architect can add material to accommodate the program and the circulation, and finally a structural and mechanical system that fits these parameters. If the program or the material changes, then the diagram can be consulted to adjust these parameters. FOA describes this process as a bottom up logic of parametric design while consulting construction techniques from a top down approach. They critically used the diagram in their Yokohama Port Terminal Project where they created a “no-return” diagram. Where program, and circulation were the main driving factors for the layout of the diagram. At each point of the diagram, they placed an architectural surface like I previously highlighted that related to the local parameter of the program, circulation, material, structure and environment. These points of the diagram start to include ergonomic and functional information that determine the scale and geometry of the surface’s deformations, as well as the technical information of the structures’ load bearing capacities. Once

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1. Yokohama Port Terminal’s “no-return” diagram.

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all the information is set in place, the diagram can start to become a constructible-dimensioned drawing. The other major benefit of the diagram is its ability for openness. One, in the specifics of a project where it can evolve over the course of the project, and two, its ability to work over any scale of projects. This will lead to a coherence, and increased performance of one’s architectural design over time.

Diagrammatic design in architecture is not a new tool, but with the use of the computer and its ability to process infinite layers of information, we are able to produce a more effective and performance driven architecture that enfolds all aspects of a projects’ site and program, rather than shunning the site and looking to repeat a successful

prototype. The diagram can be used as a prototype that adjust itself to the specific parameters of each project, and can be used as design tool that evolves itself over time. In the search for a performance driven architecture that can interpret all aspects of any given project, the use of the diagram and the computer-model has proved successful for firms like Foreign Office Architects.

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1. Theater Dimension Diagrams 2. Skateboard Ramp Dimension Diagrams

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CASE

STUDY_01

EyeBeam

[d+s]

01_casestudy:

EyeBeam Museum

[diller+scofidio]

new york city//manhattan

A Virtual Experience Novella Cross-Programming and Folding Interactive Event-Space Media Technology Interactivity

In Diller Scofidio’s winning competition entry for the Eyebeam Museum in New York City, they altered the idea of what a ‘museum’ should be. Through the practice of integration they brought together the fields of exhibition and production in to one continuous space. I want to see how in an urban setting, they brought the public into this space, and created events that would typically never occur between the researchers and the public. To begin this case study I think we should take a walk through of the Eyebeam Museum of New Media Art to gain a better understanding of how Diller and Scofidio executed such an innovative architectural and social plan.

A Virtual Experience Novella

Approaching the building from the street you notice a scrolling text and moving images on the concrete surface that is displaying current events at the museum. Entering the lobby doors you immediately see the interior glazing to your left that gives a frame to the sub-level theatre and live performance space. As you keep moving you are confronted with the option to take the stairs to your right which lead down to the theatre, head straight ahead to the media library, take the public elevator also to the right, or take the gently sloping ramp to the left which takes you into the rest of the building. The ramp looks intriguing as you notice

people socializing in a glass rectangle box. You move into the space next to the cocktail bar and become shocked by what you thought was a mere circulation space, has been transformed into an extension of the lobby as a social mingling zone for the researchers, fashionistas and digerati alike. You finish off your cocktail and continue towards what you see is the mediateque.

Inside the mediateque you rest in one of the comfy chairs, which at first glance is a standard modern piece, but once activated, transforms into a digital field of screens, headphones, plug ins, control devices, which all link into the museums servers and allow you access to all of the work that is currently and previously created in the space your in. You get your fill and head up the stairs out of the space, but while heading upstairs you notice to your left researchers/designers in a room studying archived work. You question if you were supposed to see that but continue upwards into the next exhibition space.

You are confronted by a large moving image that looks like it has been half-toned dotted in Photoshop, but it is moving and adapting to your position as you move through the room. As you move pass the exhibition something catches your eye, a classroom with researchers attending a lecture. The only separation is glass that is mildly transparent, but has moving images on it, and what appears to be the topic of the lecture. You stop for a second, and realize, the image is the one you just walked through and is the one that adapted to you. You begin to realize this is not your typical museum. The creators of what you experienced, are studying your reactions and the project’s reactions in real time, several feet from where you are. This unexpected interaction

CASE STUDY _01 EyeBeam [d+s] 29 CASE STUDY _01 EyeBeam [d+s] 28

intrigues you and you continue upwards. Many more of these interactions occur as you climb through the building until you reach the rooftop terrace and finish your night with a French, digital experimental art film on the rooftop outdoor cinema. You sip on a few more drinks and tinker with ahi tar tar while you contemplate the experience you just went through. The interactivity of the museum, if you can still call it a museum, inspires you with your own work, and you jot down notes in your sketchbook while taking in the

New York City skyline.1

Cross Programming and Folding

Going back to the idea of bringing together two separate fields and seeing how they could possibly interact was a major part of D+S’s design philosophy on the project. As we understand museums, they are a place where one enters a space and experiences a piece in its finished form, thereby avoiding the process of seeing its physical or digital manifestation. The designer’s process

of producing the piece is removed from the public’s eye. With media art, the public is the end user who ultimately

1 From analyzation of diagrams, images, plans, sections, and writings

from Mitnick. Diller Scofidio Eyebeam Museum

interacts with it; therefore, during manifestation they are integral to how the piece is designed and functions. It is here that D+S wanted to blur this relationship between designer and exhibitor. In the Eyebeam Museum they accomplished this diagrammatically by creating a single plane ribbon, with one side being the production/research side, and the other the exhibition/public side. Folding this ribbon upon itself led to a series of levels that alternate between exhibition and production. The cross programming manifests itself when they sheared the ribbon and began to shift the levels next to one another, thereby bringing a production level, up next to a exhibition level, and an exhibition level next to a production level. They coined this process of folding and crossing the program into one another, terming it “controlled

contamination.”12

Interactive Event-Space

This idea of “controlled contamination” between exhibitors and researchers stems from Diller Scofidios earlier research about voyeurism and theater. The exhibitor or researcher, is an actor within the building who at moments is on display for others and the building itself. By mixing the program, and adding circulation elements that transverse upwards through the central areas of the building, set up points or fields of possible interaction between exhibit and production areas. At these points where the programmed spaces slip next to, above, or below each other, these actors can view one another performing their activities. This occurrence of one user watching another user interacting with an exhibited piece,

2 Mitnick. p.14

CASE

STUDY_01

EyeBeam

[d+s]

1. entry lobby w/ fiber optic flooring 2. presentation space with adjacent production space 3. entry lobby

or producing a piece, questions the relationship of the researcher and visitor. Are the researchers producing the material the museum in themselves, is the public interacting with the pieces the museum, who and what is exactly on display? This blurring between users and their functions, along with the different programmed spaces folding into and out of each other further exemplify the ability of Diller and Scofidios to create an interactive event-space.

Media Technology Interactivity

Diller and Scofidio take the idea of interactivity beyond the theoretical sense of social and pedagogical interaction, and incorporate it in the use of media technology throughout the building, which in this case, is a viable necessity to the program of the building. At ground level where the users enter the building, the ground is illuminated with text and moving images through the use of fiber optic cable gridding. Fiber optic cables work when at one end, light enters the cable, then at the other end, light is emitted from the cable. The [in]put of the fiber optics in this case was a grid of LED lights that can read images and text from a computer. These images and text in turn are [out]put through the other end of the cable, which end at the surface of the concrete. This is a very innovative idea and creates this questionable floor of concrete, and also adds a dynamic dimension to

its typically static materiality. 3

The glazing systems, or “smart party walls” as they coin them, are used throughout almost all of the building. These systems include a layer of liquid crystal between transparent conductive film and laminated glass. At the top and bottom of

3 About Signage. Mitnick. p.42

the glazing, is an electrical current that controls the opacity, transparency and translucency of the wall. The top is a positive current and the bottom is a negative current. They created this system so where there are areas that change in light sensitivity is a necessity, they can control the characteristics of the glass in a flash. The glazing is also engraved with a touch sensitive menu that is tied into a virtual projection and can allow visitors to access researchers work, or for information and events to be posted. It is a 2D poster that ultimately becomes 4D because it interacts with its users and changes over time but stays in the

same matter.4

In the mediateque the lounge chairs are equipped with flat screens, flexible lap keypads and headphone jacks which all connect into the Eyebeam Museum’s media server and the Internet. Visitors and researchers alike can interact with this system for research or pure entertainment. Along with chairs, Diller Scofidio created a device that goes over your shoulders and responds to the artwork you are presently looking at. It houses information and comments from the curator, and the artists themselves, then allows you to provide your input and response to the art piece. This furthers the interaction between visitor and

designer.5

4 About Smart Party Walls. Mitnick. p.37

5 About Interactive Self-Media. Mitnick. p.34

CASE

STUDY_01

EyeBeam

[d+s]

4. interaction diagram between researchers and visitors 5. projected keypad on liquid crystal glass ‘party wall’ 6. wearable device 7. technology lounge chair in mediateque

CASE

STUDY_01

EyeBeam

[d+s]

37

12. exploded axonometric circulation diagram 13. sectional circulation diagram

CASE

STUDY

01

EyeBeam

[d+s]

10. exploded axonometric circulation diagram 11. sectional circulation diagram

CASE

STUDY

01

EyeBeam

[d+s]

14. section of [production] and [exhibiton] spaces

39 CASE STUDY _01 EyeBeam [d+s] 38

15. mechanical/data diagram 16. section detailing exhibition space with support tech room 17. fiber optic flooring 18. entry lobby bar and ramp 19. performing arts theatre

CASE

STUDY

01

EyeBeam

[d+s]

20. computer animated study models

CASE

STUDY

01

EyeBeam

[d+s]

44 45

CASE

STUDY_02Land

esg

ar

tenschau

1. ramping ways that go up and over the building 2. interior open pathways cut through the building.

02_casestudy:

Landesgartenschau

[zaha hadid]

Weil Am Rhein, Germany

“The suggested structure does not sit in the landscape as an isolated object, but emerges from the fluid geometry of the surrounding network of paths.”1

In 1999 the Landesgartenschau (state flower exhibition) was built to serve as an event and exhibition space for the garden festival in Weil am Rhein during that summer. The form was generated by external site conditions and program implementation. Site conditions like circulation paths, site views and local climate began to sculpt the building as if it apparently grew from the site. Three existing paths generated three forms that continued these paths and rose over, cut through and around the building. From these dominating forms, programmatic spaces were inserted along the routes. Circulation paths were therefore not interrupted; rather they were exemplified as they grew above, around and through the building. The Landesgartenschau became an extension of the landscape. All types of visitors were offered new ways to experience the site and an invitation to the exhibition space.

The existing site conditions are external forces that contain hard data about the Weil Am Rhein site location. The data used in the Landesgartenschau, along with Zaha Hadid’s architectural aesthetics, drove the form of the building. Existing circulation studies led to the sweeping path forms and views and climate conditions led to the specific placement of programmatic spaces.

1 Hadid, Zaha. “Landesgartenschau” Part of a packet received while touring Zaha Hadid’s office in London.

Incorporating existing circulation paths through the building not only produces a wonderful architectural form, but also creates a series of event spaces. Imagine the building having no circulation paths that cut through around or over the building, the visitors, whether attending the exhibition or simply experiencing the park, would be forced to walk around the building to experience the site or the building itself. In this instance, the walkway paths are inclusive in the building as they are simply an extension of the site’s existing pathways. Visitors using the park might walk on the ramping pathway over the building and discover the outdoor terrace and decide to stay for a cup of coffee. Another visitor might cut diagonally through the building and happen to notice an interesting display in one of the galleries, thereby sparking their interest to enter the building and see what other discoveries they can make.

Indeterminate action is a social instigator and architecture has the ability to produce spaces that produce spaces that have the cause and effect relationship of these actions.

EXPERIMENT

01

[Film

+

Media]

Film + Media

Self Surveillance / Voyeurism Discovery: Infinite Continuim

The film+media experiment began through my interest in film, media and the idea of surveillance. Inspiration was derived from Diller and Scofidios works on voyeurism and video surveillance experiments.

First, a video project was placed on a table and aimed at a white wall. Secondly, a video camera was placed 2’ behind the projector and propped up on several thick books, so the height of the camera was equal to the top of the projector. The video camera was also aimed at the white wall surface. The camera was then hooked up into the projector and both turned on. The resulting display was an image of the video projector, projecting itself. Video projectors are typically used to project other images or film. They are the worker who creates the end product, and are usually in the back scenes. In this experiment, this relationship between end product and worker is inversed. The worker, is displaying itself as the end product. What becomes hidden in the image is the video camera, they are now the worker almost taking over the position of the video projector.

The video camera is ultimately spying on itself from the back, creating a somewhat out of body experience for the video projector. Recent work has been done to create out of body experiences for humans. A video camera was hooked up to a person’s upper body, and aimed facing their head and beyond. The camera’s video was hooked into goggles that the user wore. A third person view

of the users body became apparent, like we see in third person video games. The people said they were uneasy walking around because of their distorted perception. This distorted perception is what was achieved through this experiment. Aside from the my initial investigations and hopes for the experiment, a new element that I did not foresee came into play. Because the way the setup of the video camera and projector was positioned, the image resulted in frames that gradually got

smaller and went into infinity.These images that stretched into inifinity were also tied to time. As each frame stepped back and got smaller, there was a time delay. It became apparent when waving my hand, or seeing the time code on the video camera roll through time. It created this fourth dimension on the image. Not only was the continuous process of the video camera filming the projector project itself, there was infinite continuim in the image itself. It was a very interesting discovery in both aspects through the use of film and media

EXPERIMENT_01

[Film+Media]

1. video frame grabs of film time loop experiment

49 48

EXPERIMENT

02

[Mobius

Strip]

Mobius Strip

Diagrammatic Event Space

The mobius strip is a complex mathematical model that explains a surface that is continuous, or goes on for inifinity. When looked at it in a diagrammatical sense, it has the ability to bring together several programs that would unseemingly go together, and see what type of reactions can be made possible. The idea of continuity or smooth surfaces can be linked to the idea of folded architecture or indeterminate actions through programs.

Starting with a single ribbon of paper, with two respective sides, I looped and then twisted the ribbon so each end connected and created a surface that linked both planes. Drawing on one side of the plane and leaving the other blank showed this ultimate continuity that is possible through the diagrammatic aspect of the mobius strip. While each side maintains their own

properties, they now are connected and linked into a new form.

The mobius strip was inspired by the “Mobius House” by UN Studio in the Netherlands. In the house they took the same approach to the mobius strip by looking at it diagrammatically, and how they could interpret that into a new architecture for the house. In the house they brought together two families and their daily lives by doing event-time studies of a normal day in the families life, and where possible connections could occur. It was a very provacative project and furthered the idea of indeterminate architecture or event space.

EXPERIMENT_02 [Mobius S trip] EXPERIMENT_02 [Mobius S trip]

1. twisted ribbon paper that forms a continuous surface [mobius strip]

51 50

EXPE

RIMEN

T

03

[Moire

Patterns]

Moire Patterns

“A moire pattern is an interference pattern created, for example, when two grids are overlaid at an angle or when they have slightly different mesh sizes” (Wikipedia.org].

In this experiment I wanted to look at how two separate fields, when brought together, can create a new event. In this case, I used two square pieces of plastic mesh and started by overlapping them, shifting their angles, and tilting them up from one another. You can see the resultant patterns to the left. When I folded a single piece of mesh, it created a much more dramatic moire pattern. This experiment brought out the idea of two separate entities coming together to form a new product. It too ties into folded architecture and event space. Putting it into the architecture realm, it could be used or seen when placing several programs together, intertwined, or overlapped and seeing what new event, space, or interaction can occur from such a combination. The indeterminancy of the outcome can be seen here in these simple moire patterns. Two pieces of mesh with a structured grid, but when brought together in a random way, produce a pattern that

could not finitely be calculated before. EXPERIMENT_03[MoirePatterns]

EXPERIMENT_03[MoirePatterns]

1. folded plastic mesh altered in photoshop to discover Moire Pattern

53 52

EXPE

RIME

NT

04

[Fib

re

Opt

ic

Wall]

Fibre Optic Wall

Interactive Architecture

The fiber optic wall was the next step to the film+media experiment, only this time engaging the user on a different level. I wanted a piece that would grab the users attention, make them question how they are perceiving it, begin to interact with it, then look further into how the piece is working. The fiber optic wall was the solution to this process.

A 18”x36” piece was conceived with the top 18”x18” being made of mirrored styrene and the bottom out of black illustrator board. A 10x10 grid of holes was on each 18”x18” square. From one hole at the top, to the corresponding hole at the bottom, a fiber optic cable would run. A spot light was then fixed about 8’ from the wall, and shone directly on the upper square surface. The light hitting the upper square would infiltrate into the fiber optic cable, and would be emitted from the end of the cable, on the bottom half. The process is illustrated in the diagram to the left.

It was an exhibit for the 5th Year Abstract show and was going to be a wall mounted piece that was centered at just below eyeline. The mirror would grab the users attention because everyone is intrigued to see their reflection, while they were seeing themselves in the mirror, they would look below, and recognize a shadowed imprint of their head in a grid of lights below. This intrigue of how their shadow could possibly be below would intrigue the user to move themselves and notice the changing shapes in the light. Once the user began to interact with it, they would question the process and approach the back side of the piece, to discover the vast grid of fiber optic cables.

1. user interacting with wall at abstract show fall 2007 2. fibre optic system on back of wall

55 54 EXPERIMENT_05[Fibre Optic W all] EXPERIMENT_05[Fibre Optic W all]

EX

PERIMENT

0

5 [

Fibe

r O

ptic

Table

re::ACTIVE table

Techno / Human Interactivity Physical Manifestation

A table in its purest form with a technological twist, the re::ACTIVE table creates an interactive experience with itself and the user. The table no longer functions as a stratic inanimate object, rather it takes on a dynamic experience generated from the user and their activities whether with light, video projections, or objets placed on the table. A series of underlying fiber optic grids receive light [input] from one end and emit [output] it from the opposite side of the table.

The table, constructed out of steel, plexiglass, plywood and 340’ of fiber optic cables, is an experiment in how a simple looking piece of furniture can engage its user beyond the simple use of being a table. Stemming from the experiment of the fiber optic wall, the re::ACTIVE table used a system of 14x14 grids that rested under a piece of frosted plexiglass. The grid is not apparent from above while it rests in seclusion under the frosted plexi, but when light is introduced via video project or light source, the table comes alive with one half of the table flooded with light, and the other half glowing in a 14x14 blurred grid of lights. Add the element of a video projector or fluctuating light source and the table comes alive as the emitted light dances around the grid and outputs the light values that are being inputted from the light source.

Introduce the human element and this is where the interactivity begins. If you look to the left you can see an example of a user interacting with the table,

EXPERIMENT_05[Fibre Optic Table]

1. user waving hand and created shadow effect on opposite side of table

57 56

EX

PERIMENT

0

5 [

Fibe

r O

ptic

Table

by waving his hand under the light, and realizing his shadow created on the opposite side of the table. The table’s surface is moving with his movement. Add a glass or a magazine, once they move around, their shadow moves around as well. The table is intended to be an enhancer to the activities of the table. If two people were conversing at the table having a drink, it would only add to the conversation.

The construction of the table was a great learning experience in itself. First modeling it in the computer let me take advantage of precise measurements, cuts and welds. I created a frame from tube steel and plate steel, and welded all the connections. Once done welding I grinded the welds down to make smooth surfaces for future connections to the plexiglass and for aesthetic reasons. Then came the fiber optic gridding. To achieve a surface that would be emit enough light to receive the shadow effects, I implemented a 14x14 grid. 196 strands were used at 21” a piece, resulting in the use of 340’ of cables. I drilled the holes at 9/64” to allow the fiber cable and its jacket to fit snug in each hole and therefore defeat any need for adhesives. The plywood sheet of grid was then wired with all 196 cables, stretching from one side to the next. After the cables were wired I placed the sheet on supports within the frame of the table then placed the sanded piece of plexi on top. The supports I made for the plexi and plywood were inset deep enough to create a flush surface with the plate steel. I connected the plexi to the steel with a clear silicone adhesive, similar to glass to glass connections.

The table was presented at the Vellum Furniture competition and well received. Users interacted with it as I intended and proved it successful.

EXPERIMENT_05 [Fibre Optic Table]

1. initial sketch of program combination 2. users interacting with table at vellum show 3. music in itunes and its visualizer function, along

with a video projector create a moving surface

59 58

06_experiment:

[e]mergent form

Interpretive > Generative Form

Computer > Physical Manifestation

This experiment was inspired by work from Michael Hansmeyer’s work on visualizing L-Systems through surface mapping [mh-portfolio.com/indexl.html]. I took

his work as a case study to how I can generate a form through the input of information, or data. I also wanted to examine the process of data, to computer, to form, to physical manifestation. Starting with the letters A, B and C, I created a string of letters, then arranged them in a random order through a mathematical algorithm. These letters were then assigned values; A=+1, B=0, C=-1. The random order was broken into sets of 3 and each set was mapped to a point on a 4x4 gridded surface in the computer. At these points, the set was related to the X, Y, & Z vertices. For example, the set [BAC} would relate by B=x, A=y, C=z. Once they were assigned, each point could be manipulated in the x, y & z directions according to their sets values. After going through each point, the 2d surface was now altered into a 3d distorted surface. This modeling was done in Rhino Modeling Software.

Once I was done modeling the form, I unfolded the surface and was able to print it, then physically construct the form by cutting out the individual facetted pieces. I also built a structural frame to support the form. Being able to use information, an indeterminate algorithmic generated pattern, and computer modeling software was a great process to examine a way to generate form.

EX

PERIMENT

06

[emergent

form]

1. 4x4 surface mapped with points generated through random order 2. points distorted according to assigned values at

each coordinate 3. 3 Dimensional display of [e]mergent form

61 60 EXPERIMENT_06[emergent f o r m ]

EXPE

RIME

NT

07

[ musical

emerg

enc

e]

musical [e]mergence

Stemming from the [e]mergent form experiment, I wanted to create a form that was generated from another medium, such as music, using a randomization program to generate a form. I knew that in iTunes Shuffle feature, they use an algorithmic code to produce a random shuffle of music. Having my appropriate randomization method, I then chose three different albums, that were in three different genres, as well as time periods.

The first piece I chose was Radiohead’s new album “In Rainbows” made in 2007 and under the genre of electronic. Secondly I chose Death From Above 1979’s “You’re A Woman I’m A Machine” produced in 2004 and under the eccentric “electronic dance punk.” Third and last I chose the classic Bob Dylan album “Highway 61 Revisited” from 1965 and under the Rock genre.

After establishing the albums for the experiment I assigned each album a letter and a value [+1,0,-1], that corresponded to their production year. Radiohead was given the letter [A] and the value of [+1] because it was the most recent album. DFAB 1979 was given the letter [B] and the value of [0] because it was in the middle of both albums in the dimension of time. Lastly, Dylan was given the letter [C] and the value of [-1] because it was the oldest of the three albums. From this process so far, I had several elements working into what was going to become a form. Music, time, different programs [genres], and all of those combined the [in]put of information.

EXPERIMENT_07[musical emergence]

63 62

I then created a playlist in iTunes and arranged the albums from most recent to least recent. Radiohead was at the top and Dylan was at the bottom. This established a layering of time through the playlist. Once they were arranged chronologically, I shuffled the playlist and created a completely random pattern. From that pattern I listed the songs according to their letter and generated the string of letters:

[ABABACBCCABCBCACBBCAAABBCCABAABABACBCCABCBCABCBB]

I broke the sequence into sets of [3] and [4] rows.

[ABA][BAC][BCC][ABC]

[BCA][CBB][CAA][ABB]

[CCA][BAA][BAB][ACB]

[CCA][BCB][CAB][CBB]

This set of numbers was then mapped to a 4x4 gridded surface and each set was related to the [x,y,z] geometric components of each point, and also related to the positive and negative directions of each axis.

(+)X = A (-)X = C XYZ = 0 = B

(+)Y = A (-)Y = C

(+)Z = A (-)Z = C

Each point on the mapped surface was distorted in the [x,y,z] directions according to each letter’s value. This created a 3 Dimensional topological form.

The album art from “In Rainbows” “You’re A Woman I’m A Machine” and “Highway 61 Revisted” were applied to the initial 4x4 2d surface, layered according to most recent year on top, then each layers opacity altered according to the frequency the album played in the playlist. Once the points shifted the surface distorted, thereby distorting the image with the form.

The form generated was through a system of music, information and time through analyzation and a mathematical algorithm to generate indeterminancy within given parameters.

1. physical models 1. initial iTunes playlist 2. shuffled iTunes playlist

A A A A A A A A A A B B B B B B B B B B C C C C C C C C C A B A B A C B C C A B C B C A C B B C A A A B B C C A B A Artist Album Year Genre

A Radiohead In Rainbows 2007 Electronic

B Death From Above 1979 You’re A Woman I’m A Machine 2004 Electronic Dance Punk

C Bob Dylan Highway 61 Revisited 1965 Rock

65 64

EXPE

RIME

NT

07

[ musical

emerg

enc

e]

08_experiment:

musical [e]mergence 2

A further investigation into the musical [e]mergence experiments led me to apply a similar process to the surface image in the same way I approached the form. In this experiment I set up the same surface map structure with the same music, values, and letter sets. However, the surface reacted to the densities of the value sets at each point on the surface. At each point I looked at what album was more prevalant, and from that information created a gradient color point that related to its album color, and frequency of play at that point. For example:

[AAB] - At this point, the album A, Radiohead’s “In Rainbows,” was more frequent, therefore a circular point color with a radius of [+2] would be applied. [+2] was chosen to span the albums value in each direction of the surface, and lead to the possible mixture and overlap between nearby points.

Breaking it down, if all the albums were at one point, they would each have a radius of [+1] and an opacity of 33%. If an album had 3 values at one point, then it would have a radius of [+3].

This distribution of frequency points when distorted began to stretch across their respective fields and interact with other points. If this was at a larger scale, it would be a topological form with speakers at each point playing the album with the most freqeuncy at that point, thereby creating an array of musical spatial fields.. 1. computer model 2. physical model 67 EXPERIMENT_08[musical emergence02]

EXPERIMENT

08

[