Drawing - Summer Camp Landscapes

Where is your camp?
Where is your camp?

Many of my evening drawings start out with an unestablished trajectory or predetermined intent.  This one began from nine open dots spaced somewhat evenly, but misaligned across the field of the page.  I then worked through layers of loosely guided procedures to create relationships between the dots.  

Vectors spin off from the orbiting perimeter, fleeing the page or terminating into on another.  These collision produce angles and arcs, triggering further subdivision along the lines.  The arcs continue their trajectories beyond their initial boundaries defining a conflict between angular space and curved space throughout the field.  This provides a medium for further inhabitation of regions by texture and orientation.  More organic forms press on the primary mass from the less ordered exterior regions.  

When I step back, the drawing feels like an aerial view of some patchwork plan.  The disjunction but interrelation reminds my of my summers at Camp Drake, sliding between ordered Boy Scout activities and the encompassing nature, broken by bridges, trails, and the occasional haunted cabin the the woods.

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Forming Rivers

"Feeling its way slowly and blindly downward, until at last with more heat and moisture, as the sun gets higher, the most fluid portion, in its effort to obey the law to which the most inert also yields, separates from the latter and forms for itself a meandering channel or artery within that, in which is seen a little silvery stream glancing like lightning from one stage of pulpy leaves or branches to another, and ever and anon swallowed up in the sand. It is wonderful how rapidly yet perfectly the sand organizes itself as it flows, using the best material its mass affords to form the sharp edges of its channel. Such are the sources of rivers."

-- Henry David Thoreau, Walden

 

Came across this while cleaning and organizing some old notes.  Such a succulent description of the process of formation between water & sand to make flowing rivers.  It also goes well with the previous drawing.

I also want to say Happy Birthday to my father, 66 fruitful years in flow.

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Laminar Erosion Process

DELAM
DELAM

Start with a blank page.

Draw two roughly parallel squiggly curves from the top center to lower left corner.

Draw progressively smoothing curves roughly parallel to the originals moving outward to the edges of the page.

Introduce slight expansions and contractions as you see fit.

No curves should cross.

Leave the space between the origin curves empty.

To the left of the left origin curve perform these operations on the sequence of laminations:  Hatch with perpendicular evenly spaced lines | Fill | Void | Void | Fill | Void | Fill | Hatch with upward slanting evenly spaced lines | Repeat in reverse | Continue with variations on this theme till end of page.

To the right of the right origin curve these operations on the sequence of laminations:  Fill | Hatch with upward slanting evenly spaced lines | Hatch with downward slanting evenly spaced lines | Fill | Void | Hatch with perpendicular evenly spaced lines | Fill | Void | Void | Fill | Void | Repeat till end of page.

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Travel Documents

Scandinavia
Scandinavia
France
The Mediterranean
Europe
Footyboots Coat of Arms

During a SkyFi (yes, that is the correct pronunciation, inspired by my time with Francois Roche) book club session last Tuesday the discussion took a tangent into travel.  It reminded me that somewhere, in a dark dark closet, in a dark dark box, in a dark dark envelope, I had a collection of patches that I picked up during my study abroad in France.  I was there for architecture and we were fortunate to have a lot of time to travel and discover.  One of the things I would always do when i got to a new place was seek out a tourist shop or town hall that sold patches.  I didn't always find them, but came away with a good collection that brought back some great memories.  After pulling all these out I felt silly for not doing it earlier since we recently completed an Identity Design project at Miscellaneous Projects that was inspired by Coat of Arms (the last photo).  Maybe we can get it turned into a patch :)

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SubTerranea[N]

Designing expressive landscapes with charcoal
Designing expressive landscapes with charcoal

A quick charcoal drawing that I made during studio at Pratt.  I wanted to give the students a little change of pace and try to loosen them up with a more fluid medium after all their intense procedural mechanical drawings.  I started here with a crumpled paper bag to demonstrate building tone and highlight, then I just let the emerging forms guide a new landscape.  The result began to take the appearance of a subterranean landscape, so I threw a few figures in to bring a sense of scale to the scene.  We had a lot of fun translating the students projects into more expressive and environmental interpretations through a great messy medium, charcoal.

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Cocooning Luna Moth Ring

Fluid Transformation
Fluid Transformation
gem hiding space
Ensnaring
Form flowing around the eye of fire
A sleek sexy profile to compliment the hand

This post is coming a little late (the ring did as well :), but I wanted to show off my latest gift for ldweezy.  This is a mutation of the original Luna Moth Pendant for a while back.  Here the creature is within the cocoon, transforming from larva to ethereal moth.  The transforming creature bends around the finger to encapsulated it on the verge of new life.

The ring is cast in sterling silver and then plated in Rhodium to add a durable bright finish.  There are two Mexican Fire Opals, one prominently displayed, the other deeply nested as an internal lens for intense light.  This is the first time I have mixed metals with gems.  here I went simple and used some high strength jewelry epoxy (Aleene's Jewelry & Metal) to a fix the gems withing their specifically designed nests in the form.

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Pratt Final Review Design 1 Fa2014

DE05 Final Review
DE05 Final Review
DE04 Midterm Curation
DE03 Solids and Voids
DE02 Planes and Surfaces
DE01 Points and Lines

The following is a collection of the work produced during my First year Architectural Design Studio at Pratt for Fall 2014.  The images follow a group of 13 students through their initial journey into architecture.  They progressed through a series of Design Exercises that pit them in design conversations with Point & Line, Plane & Surface, Solid & Void, and finally a Hybrid synthesis of techniques into a spatial, architectural concept, a Folly.

 

An Architectural Proposition of…

For the final project of the semester you will design an architectural space, a Folly, exploring the intersection between two of your studied formal/spatial techniques (design approaches) and a proto-concept (scenario/proposition).  This will be a parallel process, moving from inside out and outside in as you mediate the space of collision between architecture as interior and exterior, architecture as a proposition of...  


Please browse the collection and follow the design process of the studio at teh following links:

DE01

DE02

DE03

DE04

DE05

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Cocooning Ring Prototypes

Opal location and fit test
Opal location and fit test
Resin and Nylon prototypes
Form and detail comparison

Update:

A little behind on this project, but getting around to making some changes based on the initial prototypes.  The geometry looks good, I plan to focus on making the overall form slimmer and more elegant.  The fit is also a little tight so I will open it up some, but the final silver ring will be somewhat flexible doe to the malleability of the metal.

You can see mock-ups here of the integration with a Mexican fire opal.  I will work with the digital geometry to mold some of the apertures to fit the round cut gems so that they can be fixed into the final design as a vibrant accent.

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Luna Moth Cocooning Ring Prototype v01

Side profiles of the prototype
Side profiles of the prototype
Prototype form and output geometry
Form and geometry from the top
Luna Pendant Origins
Initial re-formation studies
Design Iterations
Form Differentiation
Transfiguration

I am designing a new custom ring as a gift for Lauren's birthday.  These are the initial design sketches of the process to evolve a new ring form.  

The goal is to create something with a formal relationship to the Luna Moth pendant I designed last year as a gift, but to also transform that geometry into a new life-cycle of the creature.  I begin with a few snippets of geometry from the initial pendant, proto-forms that I assemble into a new body in search of transformation.  The idea is to have the ring be in a state of change, the cocooning, as transfiguration takes place in its becoming moth.  Some of the initial formal elements remain in play, the long tails and the striated surfaces, but they are something more primal, more raw.  The ring wraps itself, keeping an insect symmetry along the primary axis of bending, but showing signs of differentiation at the two ends.  The open patterns of the original moth wings are compresses, bundled into a knot of convergence and divergence.  The wings are pushing through the tail as they begin to emerge.  This forms a high density of internal spaces within the form that will capture and refract light once it is produced in polished metal (probably sterling as it looks great on Laurens skin).  I also want to use this design as a platform to test applying some gem settings to a design, providing a contrast of rich color to the sleek silver with a Mexican fire opal.

These images represent the initial recombination and emergence flow of the ring design.  The form is currently out for production as 3D printed prototypes so that I can work on the physical aspects of the piece, such as weight, balance, interface with the hand, and visual proportions.  Physical prototyping is an integral art of my work flow and often uncovers new trajectories that were not yet apparent in the purely digital space.  I will post photos of the prototypes and discuss how my experience with them folds back into the next phase of design.

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Inspiring June Flowers

June Flowers Compilation
June Flowers Compilation
Sea Creature
Mating Season
YARROW - Achillea millefolium
At the farmers market
Pounce
Spines with a soft touch
More sea creatures in the sky
Deep Purple

I like to take close up photos of flowers that I find in my daily travels.  I generally share some of them on Instagram @rooksisfun, but I wanted to keep a record of what I find each week/month so here is an instalment from June.

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Landforms - Craggs

Field Magnitude 20
Field Magnitude 20
Field Magnitude 15
Particle view for magnitude 15 landform
Field Magnitude 10
Field Magnitude 5

Early design tests for a craggy landscape.  These employ Maya's nParticles and dynamic fields as a platform for generating turbulent landscape deformations.  In this series of preliminary tests we are searching for a desired intensity and strategy for deforming a uniform grid (particles) with a moving distortion force (turbulence field).  The particles are linked by a woven spring system to expand local effect across the entire surface and find a space between explicit control and emergent behavior.  Further tests will reduce the reliance on turbulence by developing more precise field parameters and patterns of motion within the particle field.  The final goal is a 3D printed landscape with embedded fossil objects from the Arnica jewelry collection.

The images are all produced as screenshots using a simple mentalral material x and viewport 2.0 rendering in realtime.  Each simulation is run for 200 frames and the snapshots are taken starting at frame 75 once there is significant pattern emerging, 100, 125, 150, 175, and 200.  In general there is a significant shift between 150 and 175 from a rougher tighter surface from to a more puffy billowy landscape due to greater mixing and overlap of the controlling particles.  Moving forward, the results from field magnitude 15 will be the base for testing different field motion patterns, drawing with forces.

Part of our design philosophy at Miscellaneous Projects is to establish broad objectives (in this case a craggy landscape) and then rigorously test control parameters to generate sets of possible trajectories.  From these sets we can then narrow the search and test more specific parameters.  This helps us to engage with the uncertainty of design and discover unexpected possibilities in the process.  Each project is a form of research, a search for new territories, design.

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Interiors - Cavescapes

Forking Paths
Forking Paths
The Gorge
Gullet
Syphon
Platforms
Reflections

Spent an hour exploring some Maya particle dynamics.  After generating intense coral blobs I took the camera inside to explore the new micro environments, cavescapes..  A sprinkle of viewport 2.0 and mentalray materials adds a biological x-ray visual effect to the bifurcating geometry.

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BRRRRrraaaaaaiiiiiIIINNNNNSSSSS???

braaiiinnnsss
braaiiinnnsss
Front Oblique
Back Oblique
Popping off the cuff.

A custom design cufflink hybrid from the Arnica collection.  This little beauty will be gracing the arms of a young documentary director at the Oscars this Sunday.  Super fun!

So why the title, well I like zombie movies (old school like Dawn of the Dead) and when I see the intense folding and complexity of reflections in this piece I can’t help but see a gilded brain.

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Body Transforms :: Laminar Cloud :: Folly 2014

Exterior View - Decomposing Flesh
Exterior View - Decomposing Flesh
Initial particle dynamics form expressions
Developed particle form and body motions intersections.
Protoform hybrid studies
Temporal analysis - Light
Belly of the beast
Swallowed

Exploring the intersection of responsive dynamic form & human spatial perception.


Light. Space. Position. Speed


The stark white cloud comes to rest on the green overlooking the park; an alien, yet strangely familiar object in the landscape.  The striated shifting form plays at the intersection between foreboding mass and a moving vapor as it translates dynamic human motion into habitable form.  Layers of Bio Mass undulate and fold across the enveloping surfaces.  Voids emerge, shed their lights forms, and disappear back into the solid mass.  The Laminar Cloud is a study in using computational simulation to drive a form finding process.  The results is always in flux, searching for a resolution between our continuous experience of space and our fragmented focus on wondrous moments; space, time, & light converge.

A series of abstractions of the human form into a primitive mass with minimal operation of movement and perception established the base search agent for the experiment.  A human scaled rectilinear volume with the capacity to move forward & backward along a single axis with varying speeds and general body positions simulates changing conditions of spatial inhabitation.  The abstracted human gains more capacity as it can adjust its focus at key moments along the journey through space.  These moments become voids, slices through the solidifying memory of the movement.

Qualities of motion leave a trace, a memory of the body.  That memory transforms our perception of space and shapes our world.  The form is discovered through studying a body in motion in time, the material and construction method serve to provide a frame of measure.  The relentless striation of laminated sheet forms exaggerates the speed of the changing Body Transforms.  The jagged nature of the repetitive edge reminds us of the search for grace in our movements. 

Computer simulation plays an increasing role in architecture at a technical and playful level.  With this project I am able to explore a vast range of generative solutions to a contemporary architectural folly that explores our movement through space and perception of time.  This work exists as a continuation of formal explorations seen in works such as Greg Lynn’s Predator or Francois Roche’s Hypnosis Chamber.   My extensive background in digital fabrication technologies, building projects around the world for designers and architects like Zaha Hadid, Diller + Scofidio + Renfro, SU11, and many more, gives me a unique insight into fabrication and assembly efficiency while achieving design intent.  CNC (computer numerically controlled) technology paired with standardized building materials can yield complex results quickly and with a low budget.

My current thinking is to source a biodegradable building board (vegetable pulp particle board) that could be treated with paint for the duration of the sculpture and then disassembled.  The decomposed segments could then be used as perimeters for planters housing mulch and dirt for trees and raised beds.  Betancourt Green Building Supplies here in Brooklyn has a BioBoard, Agristrand, which is primarily soy chaff and is FSC certified.  It uses a non-toxic binder and will break down over time. 

 

Maya Expression Example:

if (frame == 1) {
    polyCube1.depth = 2;
    polyCube1.width = 10;
    polyCube1.height = 10;
    pCube1.translateZ = 0;
}

// tempo that establishes baseline of movement rhythm
int $tempo = rand(5, 10);

// period of analysis
int $trace = frame % $tempo;

// mirrori plain rotation to add jitter to perception
int $rotX = rand(-35, 35);
int $rotY = rand(-120, 120);
int $rotZ = rand(-2, 2);

// jumpping through time space
float $shift = rand(2, time*$tempo);

// upper limit of speed forms
int $speed = rand(3, 7);

// speed of motion with upper linit to speed jumps
int $depth = $shift + rand($speed);

if ($trace == 0) {
    pCube1.translateZ = $shift;

    if (frame > 2) {
        polyCube1.depth = $depth;

        if ($depth > (7)) {
            polyCube1.width = rand(2, 5);
            polyCube1.height = rand(15, 20);
        }

        if ($depth < (7)) {
            polyCube1.width = rand(15, 20);
            polyCube1.height = rand(2, 5);
        }
    }
}


/////////////////////////////////////////////

if ($trace==0) {
    select -r copyOfpCube1 ;
    //duplicate -rr;
   
    //select -r;
    //MirrorCutPolygonGeometry -rr;
    //rotate -r -os $rotX $rotY $rotZ;
}

/////////////////////////////////////////////


/////////////////////////////////////////////

if (frame == 1) {
    polyCube1.depth = 2;
    polyCube1.width = 10;
    polyCube1.height = 10;
    pCube1.translateZ = 0;
}

// tempo that establishes baseline of movement rhythm
int $tempo = rand(5, 10);

// period of analysis
int $trace = frame % $tempo;

// mirrori plain rotation to add jitter to perception
int $rotX = rand(-35, 35);
int $rotY = rand(-120, 120);
int $rotZ = rand(-2, 2);

// jumpping through time space
float $shift = rand(2, time*$tempo);

// upper limit of speed forms
int $speed = rand(2, 8);

// speed of motion with upper linit to speed jumps
int $depth = $shift + rand($speed);

if ($trace == 0) {
    pCube1.translateZ = $shift;

    if (frame > 2) {
        polyCube1.depth = $depth;

        if ($speed >= $tempo) {
            polyCube1.width = rand(2, 5);
            polyCube1.height = rand(15, 20);
        }

        if ($speed < $tempo) {
            polyCube1.width = rand(15, 20);
            polyCube1.height = rand(2, 5);
        }
    }
}


/////////////////////////////////////////////

if ($trace==0) {
    select -r copyOfpCube1 ;
    duplicate -rr;
   
    select -r;
    MirrorCutPolygonGeometry -rr;
    rotate -r -os $rotX $rotY $rotZ;
}

/////////////////////////////////////////////
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The Owl

Who Saw-whet
Who Saw-whet
In Captivity

Symmetry reveals hidden life.  While modeling some packaging materials for Arnica I came across this new species of owl, Aegolius acadicus cyberoculus, hiding in the wireframes.  Bionic eyes penetrate deeply.

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Golden Oldies :: Strangling Blackness

An animation accompanying a dystopian architectural design studio at Columbia GSAPP back in 2007. Architect, Francois Roche proposed a scenarios of robotic dystopia designed and grown from within the design of the machine. This is a result, a darkness of material and form, a strangling blackness.

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