theverymany

www.theverymany.com

2010-06-14T21:09:00.009+01:00

I have now been posting personal work about computational morphologies on www.theverymany.net since 2005 – it is now finally time to work on a new skin for THEVERYMANY™ and also update many yet non published projects.

THEVERYMANY WILL NOW RELOCATED AT: www.theverymany.com

Note: that new website is still a Work In Progress - pages are susceptible of changes – therefore links also - so for the time being please only direct to www.theverymany.net / www.theverymany.com

best,
Marc Fornes

100505-07_MF_Workshop@TexasTech (2)

2010-05-08T19:58:00.003+01:00

LUBBOCK (TEXAS) | RHINOSCRIPT WORKSHOP | May 05-07th, 2010
Marc Fornes will be teaching a three days Rhinoscript workshop at the College of Architecture, Texas Tech University.
(Invitation: Christian R. Pongratz)

THEVERYMANY has moved (temporaly)

2010-04-30T21:04:00.003+01:00

Google/Blogger is not supporting anymore blogs published through ftp.

THEVERYMANY has now temporaly moved to: http://tvmny.blogspot.com/.
You will be automatically redirected in 30 seconds or you may click here.

For feed subscribers, please update your feed subscriptions to
http://tvmny.blogspot.com/feeds/posts/default.

Will keep you posted on the evolution...

Best,
Marc Fornes

100423-25_MF_Rhinoscript @ PennState

2010-04-22T19:31:00.004+01:00

PENN STATE (PA)| RHINOSCRIPT WORKSHOP | APRIL 23-25th, 2010
Marc Fornes will be teaching a three days Rhinoscript workshop at Penn State: Stuckeman School of Architecture & Landscape Architecture
(Invitation: David Celento)

Note: the workshop will be followied in the next two weeks by the production and assembly of a new prototypic structure / installation...
more to come...

100401_TVMNY @ CHICAGO | Extension Gallery

2010-03-31T14:22:00.008+01:00

CHICAGO | Extension Gallery | Opening Thursday 1st April
THEVERYMANY will present a new prototypic structure...
(FM lecture @ 6pm)

Design: THEVERYMANY / Marc Fornes

Assembly team: Marc Fornes, Mathew Staudt, Brandon Kruysman, John Proto + many...
Production team: Mathew Staudt, Brandon Kruysman, John Proto + many...
Research team: Marc Fornes, Skylar Tibbits, Brandon kruysman, John Proto,...
Fab (metal): Jared Laucks

EXTENSION GALLERY
625 N. Kingsbury Street
Chicago, Illinois 60654
www.extensiongallery.us

(invitation: Paula Palombo)

100325_TVMNY @ PARIS | Synesthesie Galerie

2010-03-24T12:03:00.007Z

PARIS | Galerie Synesthesie | Opening Thursday 25th March
THEVERYMANY will present a new prototypic structure...

Design: THEVERYMANY / Marc Fornes
Design team: Marc Fornes, Mathew Staudt
Assembly team: Marc Fornes, Skylar Tibbits, Veronica Emig + many...
Fab: Jared Laucks

SYNESTHESIE
15 rue Denfert Rochereau
93200 SAINT DENIS
www.synesthesie.com

100324_MarcFornes @ PARIS | ENSAPM

2010-03-24T11:45:00.005Z

PARIS | ENSA PARIS-MALAQUAIS | Conference
Conférences et discussion avec les étudiants, Mercredi 24 mars 2010
Dans le cadre du Master 2 P10 Digital Knowledge
Amphithéâtre 2. / 17h30-19h30 ; accès libre

090901_TVMNY for JORIS LAARMAN STUDIO

2010-03-11T14:55:00.005Z

Consulting: Design Research on a "Leaf Table"
For: JORIS LAARMAN STUDIO (www.jorislaarman.com/)

THEVERYMANY (MARC FORNES, Skylar Tibbits, Mathew Staudt)
August / September 2009

JORIS LAARMAN LAB | Friedman Benda, New York

"Leaf Table", 2010, Resin, Steel and Aluminum
28 3/4 x 79 1/2 x 79 1/2 inches 73 x 201.9 x 201.9 cm
Photo courtesy Joris Laarman Lab and Friedman Benda, New York (via Dezeen)

100212-0428_TVMNY @ NYC | Guggenheim Museum

2010-02-10T14:56:00.007Z

GUGGENHEIM | NEW YORK, NY | Contemplating the Void
Fev 12th to April 28th 2010
THEVERYMANY has been invited to exhibit at the Guggenheim Museum, New York as part of the show CONTEMPLATING THE VOID - the exhibition will display a vision from the void of the museum from 300 artists and architects.
(invitation: David van der Leer, Assistant Curator Architecture & Design Guggenheim Museum, New York)

CONTEMPLATING THE VOID
February 12–April 28, 2010

Since its opening in 1959, the Frank Lloyd Wright–designed Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the rotunda has elicited many unique responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs. For the building’s 50th anniversary, the Guggenheim Museum invited more than two hundred artists, architects, and designers to imagine their dream interventions in the space for the exhibition Contemplating the Void: Interventions in the Guggenheim Museum. Organized by Nancy Spector, Chief Curator, and David van der Leer, Assistant Curator for Architecture and Design, the exhibition will feature renderings of these visionary projects in a salon-style installation that will emphasize the rich and diverse range of the proposals received. Contemplating the Void: Interventions in the Guggenheim Museum will be on view at the Solomon R. Guggenheim Museum from February 12 to April 28, 2010.

Aristotle famously pronounced that nature abhors a vacuum, an idea that still resonates in art today. In designing the Guggenheim Museum, Wright flaunted the notion of the void, leaving the center tantalizingly (or threateningly) empty. Over the years, when creating site-specific installations or exhibition designs for the building, artists and architects have imbued the space with their presences, inspiring unforgettable works by Matthew Barney, Cai Guo- Qiang, Frank Gehry, Jenny Holzer, and Nam June Paik, among others. For the building’s 50th anniversary, the Guggenheim invited scores of artists to leave practicality or even reality behind in conjuring their proposals for the space. In this exhibition of ideal projects, certain themes emerge, including the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the concrete structure, and the impact of sound on the environment. Conceived as both a commemoration and a self-reflexive folly, Contemplating the Void confirms how truly catalytic the architecture of the Guggenheim can be.

Submissions were received from all over the world from a wide range of artists, designers, and architects, including emerging as well as established practitioners. Among the many works in the exhibition are projects by artists Alice Aycock, FAKE DESIGN (Ai Weiwei), Anish Kapoor, Sarah Morris, Wangechi Mutu, Mike Nelson, Paul Pfeiffer, Doris Salcedo, Lawrence Weiner, and Rachel Whiteread; designers such as Fernando and Humberto Campana, Martí Guixé, Joris Laarman Studio, and Studio Job; and architects such as Álvaro Siza Vieira Arquitecto, BIG (Bjarke Ingels Group), Greg Lynn FORM, junya.ishigami+associates, MVRDV, N55, Philippe Rahm, Snøhetta, Studio Daniel Libeskind, Toyo Ito & Associates, Architects, and West 8. In addition to the exhibition in the Thannhauser and Annex Level 4 galleries, Contemplating the Void will be accompanied by a comprehensive exhibition Web site, which will document each submission and feature introductory essays texts by Nancy Spector and David van der Leer.

The Leadership Committee for Contemplating the Void: Interventions in the Guggenheim Museum is gratefully acknowledged.

100217_MarcFornes @ MIAMI | MOCA

2010-02-06T22:17:00.004Z

MIAMI (FL) | MOCA | Museum Of Contemporary Art | Feb 17th 2010
Marc Fornes will give a talk at the MOCA MIAMI as part of "Time For Design"
(invitation: Lourdes Sanchez Espinel & Kevin McMorris)

100205_MF_Rhinoscript @ ARLINGTON | TexFab

2010-01-31T22:20:00.007Z

TEXFAB (ARLINGTON, TX) | RHINOSCRIPT WORKSHOP | February 05th, 2010
Marc Fornes will be teaching a two sessions Rhinoscript workshop at the University of Arlington, Texas.
(Invitation: Kevin Patrick McClellan)

100127-29_MF_Workshop@TexasTech (1)

2010-01-28T04:49:00.004Z

LUBBOCK (TEXAS) | RHINOSCRIPT WORKSHOP | January 27-29th, 2010
Marc Fornes will be teaching a three days Rhinoscript workshop at the College of Architecture, Texas Tech University.
(Invitation: Christian R. Pongratz)

100121_withR&Sie(n) @LeLaboratoire, Paris

2010-01-20T00:44:00.004Z

++++++++++++++++++++++++++++++++

Research and exhibition credits:

R&Sie(n) / Le Laboratoire
Scenario, design, production: R&Sie(n)
Math process: François Jouve
Computation: Marc Fornes with Winston Hampel and Natanael Elfassy
Robotics design: Stephan Henrich
Physiological data scanning process and design: Gaetan Robillard, Fréderic Mauclere and Berdaguer & Pejus and Mark Kendall on Microneedles.

++++++++++++++++++++++++++++++++

“humor-driven architecture” / R&Sie(n) / Le Laboratoire
Mathematical, physiological, robotic and construction processes for a self-organized collective habitat.

++++++++++++++++++++++++++++++++

Pitch / "une architecture des humeurs", a research project / exhibition in which the R&Sie(n) architectural practice has worked with a group comprised of a mathematician, programmers, architects and a robotics designer to develop a computational approach based on biological and physiological data scanned from visitors who are put through situations inciting repulsion, stress and pleasure to conceive housing units and urban fragments based on relational protocols. From January 22 through the April 26, 2010, at Le Laboratoire, 4 rue du Bouloi, 75003 Paris

++++++++++++++++++++++++++++++++

From R&Sie website:
"Un architecture des Humeurs"

From January 22-2010, the studio R&Sie(n) will render visible a project exploring new modes and apparatuses of architectural structuring and transaction:

- One aspect is comprised by computational, mathematical and machinist procedures designed to produce an urban structure following certain protocols. These successive indeterminate, improbable and uncertain aggregations will rearticulate the link between the individual and the collective.

- The other aspect is the scanning of the neuro-biological emissions of each visitor so as to analyze their chemical composition. Until now the collection of information involved in the residential unit protocol has been based on visible and reductive data (area, way of life, number of rooms, mode of access, neighbourhood frontiers).

In contrast, this experiment will provide the occasion for an interrogation of the shadowy “emission of desires” through the scanning of certain physiological signals, and the implementation of a chemistry of the moods of future purchasers taken as inputs generating a diversity of habitable morphologies and the relationships between them.

A signal collection station will be on hand. It will make it possible to perceive these variations and the way in which changes in emotional state affect the emitted geometries and influence the construction protocol.

Animist, vitalist and machinist, “mood-driven architecture” rearticulates the need to confront the unknown, an uncertain and unpredictable nature, in a contradictory manner by means of computational and mathematical assessments.

“Humor-driven architecture” is also a tool that will give rise to “Multitudes” and their palpitation and heterogeneity, the premises of a relational organization protocol.

This research is being carried out with François Jouve, the mathematician in charge of working out dynamic structural strategies; Marc Fornes with Winston Hampel and Natanael Elfassy in charge of computational development; the architect and robotics designer Stephan Henrich; and Gaetan Robillard and Fréderic Mauclere for the physiological data collection station, following a scenario by Berdaguer and Pejus. A second process of collect via “Microneedles” of Mark Kendall will be included.

100114_BeWiWi_20|10

2010-01-14T16:57:00.017Z

THEVERYMANY / Marc Fornes would like to present his:
Best Wild Wishes for 2010*

* according to the "etiquette" a new year best wishes card should be sent before Jan 1st - that if you are a purist - Jan 15th being the absolut deadline - Jan 14th is therefore more than on time...

As "card" - here is a sample along 2009 of insider views of THEVERYMANY studio in Brooklyn - perfect timing before as changing for a larger space in order to build (and storage) larger projects/structures...

Best wishes -and once again many thanks- to all the people who are making those experiments possible - especially:

To THEVERYMANY collaborators: Skylar Tibbits, Mathew Staudt, Jared Laucks, Brandon Kruysman, Jon Proto,...

To THEVERYMANY academia collegues & friends: Francois Roche (R&Sie), Stephan Henrich,...

To THEVERYMANY helpers:
(with who I would like to fully share the credits of the work...)

*Aperiodic Symmetries
Jason S. Johnson, Josh Taron, Craig Le Blanc,...
Frazer Van Roeckel, Dolores Bender-Graves, Matt Knapic, Bradena Abrams Reid, Carmen Hull, Peter MacRea, Adam Onulov, Tiffany Whitnack, Jordan Allen, Ryan Palibroda,...

*Echinoids
Brandt Graves, Carrie Mcknelly, Elliot White, Troy Zezula, Biayna Bogosian, Christine Rogiaman, Jared Laucks, Scott C. Savage, Al Attari, Brian Doyle, Claire Davenport, Claudia Corcilius, Courtney Song, Gary Mellon, Heidi Bullinga, Kamyar Rahimi, Majda Muhic, Marcelo Ertorteguy, Matthew DeLuca, Melissa Funkey, Otilia Pupezeanu, Sara Valente, Simon Kristav, Shadi Arani, Veronica Emig,...

*Anoblums
BANGS collective, Pablo Barría, Begoña Arellano, Claudio Astudillo, José Narea, Marcela Godoy, Linda Schilling,...
Eduardo Hirose, Daniel Concha, Diego Moreno, Juan Pablo Klempau, Felipe Valdebenito, Pablo Banda, Francisco Quitral, Hermann Zbindenn, José Luis Guzmán, Victor Bunster M., Pablo C. Herrera, Tristan Al Haddad,...

*Modoid
Ally Hyun, Trevor Horst, Jesse Vaughn, Joseph Di Cicco, Veronica Emig,...

*nEdg
Eric Deboos, Laurent Lucas, Marie Bassano,...
Anne Vialle, Simon Feydieu, Lou Lucat, Tamara Maes, Sophie Roset, Charlotte Marrel, Benedetto Bufalin,...

*Part(s) for Display
Alissia Melka-Teichroen, Clair Warnier, Dries Verbruggen, Jan Habraken, Lucas Maassen, Kristina Kastro, Trevor Horst, Veronica Emig, Claudia Corcilius,...
Charles Vala, Felipe Sarmiento, Leopold Lambert, Martign Deurloo, Sergio Mannino, Alex Timmer, Remon Van, Den Eijnden, Steve Breman, Tyche Van Eijndhoven,...

To THEVERYMANY venues: Gallerie Roger Tator (Lyon/France) (Eric Deboos, Laurent Lucas, Marie Bassano), University of Calgary (Canada) (Jason Johnson), Bridge Gallery (NYC)(Marilyn Garber), Alga Wimmer Gallery (NYC) (Kelsey Harrington & Christine Yiogaman), Material Connexion,...

To THEVERYMANY sponsors & supports:
McNeel (US & Europe) (especially Bob, Carlos, Scott,...), TDM Solutions (RhinoNest), ASGVIS (VRay),...
Continental Signs (Philadelphia), Point b design, anyline (laser cutting)...
ALLIANCE METALS Inc., QUADRANT (Kress Schwartz),...

To THEVERYMANY followers - Thank you!

THEVERYMANY / MARC FORNES

090907_@Galerie Roger Tator (Lyon) (3)

2009-12-09T22:54:00.009Z

LYON (FRANCE)| nEdg| Galerie Roger Tator | 090907
THEVERYMANY (Marc Fornes, Skylar Tibbits, Mathew Staudt, Jared Laucks)
(invited as part of "parcours raisonance" of the Lyon Art Biennale)
14 September - 27 November (extended...)

"n|Edg" as the sum of its parts:
2 compound surfaces
2796 individual surfaces (from 3 to n edges)
5375 holes

“n|Edg” assembly is written within continuous series of investigations at different scale:

- the overall: development of protocols of surface relaxation - in order for the surface to generate best fit curvature in response to fix hanging or support points (floor, ceiling, walls) as curvature - despite generating apparent complexity - also provides natural structural stiffness.

- surface description (or sampling): re-understanding the resultant surface as series of points - which densities are relative to the degree of curvature – the more curvature the more points and eventually parts.

- surface reconstruction (or tessellation): previous work focused on describing complex surfaces with flat components – after working for different “high end” architectural and design practices - the only way to keep pushing non standard environments is to introduce the economy of parts as part of the equation – therefore early tests were first looking at ways to triangulate complex surfaces – and therefore strategize on panels cut within flat sheets of material – which very quickly evolved toward what is now the trendy “arrays of quads” components paradigm. “n|Edg” is now investigating the reconstruction of a surface with polygonal parts going from three edges to (n) number of edges.

- informed customization: each part is similar though not identical – its change of size and proportion is therefore allows to describe different radius of curvature – but also local re-reading of orientation is driving the length and width of branches – the flatter, the wider in order to provide more surface alike coverage.

top surface reconstruction

bottom surface reconstruction

pattern extract

091212_MF @ Intensive Fields (USC / Los Angeles)

2009-11-24T17:20:00.006Z

LOS ANGELES USC INTENSIVE FIELDS 12 December 2009
Intensive Fields: New Parametric Techniques for Urbanism
Conference, Harris 101, University of Southern California

Last minute note from the organizator:
"Due to the unprecedented interest in the conference, we understand that the venue has now changed to a larger auditorium, Taper Hall 101, and that a few more tickets have become available."

For some time now, digital technologies have had a substantial impact on architectural design. From the use of standard drafting packages to the more experimental use of generative design tools. But how might these digital technologies - and parametric design tools in particular - help us to design cities?

The conference brings together USC Professors Francois Roche, Marc Fornes, Roland Snooks, Qingyun Ma, Neil Leach, Roland Ritter and Anne Balsamo alongside other leading experts from the world of digital technologies, cultural theory and urban design, including Patrik Schumacher, Manuel DeLanda, Tom Kovac, Marcos Novak, Benjamin Bratton, Hernan Diaz Alonso, Elena Manferdini, Casey Reas and Greg Lynn.

(Entrance is free on registration: http://arch-pubs.usc.edu/INTENSIVEFIELDS/)

090907_@Galerie Roger Tator (Lyon) (assembly) (2)

2009-11-10T01:15:00.006Z

LYON (FRANCE) | nEdg | Galerie Roger Tator | 090907
THEVERYMANY | Marc Fornes, Skylar Tibbits, Mathew Staudt, Jared Laucks
(invited as part of "parcours raisonance" of the Lyon Art Biennale)
14 September - 27 November

Few night shots...
(timing: end of assembly - before final surface twicks)

MORE TO COME...

090907_@Galerie Roger Tator (Lyon) (assembly) (1)

2009-11-03T17:20:00.004Z

LYON (France) | nEdg | Galerie Roger Tator 090907
(invited as part of "parcours raisonance" of the Lyon Art Biennale)
14 September - 13 November

While waiting for a screws delivery for a new installation (due to open tomorrow!) I have finally few minutes to start posting images from that one...

4 suitaces (flying from New York to Lyon)
81.6kg (max weight allowed for two people + tolerances)
38.274 m2
0.025” thick Golden Anodized Aluminum
22 sheets 4’*8’
6 days to CNC cut
2796 individual panels (from 2 to n edges)
2796 tags (3 to 5digits)
5375 holes
6500 rivets (or 13 boxes)
5 rivet guns

Assembling...
10 days installation
10 people

HISTOIRE A SUIVRE...

091028_MF @ Rensselaer (NY)

2009-10-18T20:50:00.005+01:00

RENSSELAER POLYTECHNIC INSTITUTE | Wednesday 28th October 2009
Marc Fornes is invited to lecture on the recent work of THEVERYMANY.
Invitation: Evan Douglis

091104_TVM @ Material Connexion (New York)

2009-10-18T00:20:00.005+01:00

THEVERYMANY @ BITS'N PIECES | Material Connexion | New York
Opening November 4th 2009
Invitation: Dries Verbruggen with Alissia Melka-Teichroew & Jan Habraken
Material Connexion

Once more many parts...

091014_ACADIA_Rhinoscript Workshop (Chicago)

2009-10-15T00:25:00.005+01:00

CHICAGO | ACADIA | RHINOSCRIPT WORKSHOP | October 19-21, 2009
Marc Fornes will be teaching a three days Rhinoscript workshop in Chicago as part of the ACADIA conference
Invitation: McNeel US - Scott Davidson
http://www.acadia.org/acadia2009/

091005_@_Design Modelling Symposium (Berlin)

2009-10-03T03:54:00.008+01:00

BERLIN | Design Modelling Symposium | 05/10 - 07/10/2009
Marc Fornes has been invited as one of the key lecturer.

BERLIN | Rhinoscript Master Classe | 05/10 - 07/10/2009
Marc Fornes will also run -as part of the Design Modelling Symposium- a three session master class on rhinoscript.

From the Design Modelling Symposium Berlin website:
The Symposium sees itself as an international interdisciplinary platform of designers, developers and scientists of the disciplines architecture, design and engineering.

The fundamental technological principals of designing, planning and building have changed radically. CAD (Computer Aided Design) and CAM (Computer Aided Manufacturing) are nowadays an integral part in concept and planning processes. FEM (Finite Element Method) helps in analysing and optimising more and more complex structures. It is now possible to simulate and explore complex coherences between material, structure and climate. New materials open up the development of more effective constructions, new spatial and material experiences.

The Design Modelling Symposium would like to encourage discussion about the target course of this development by exchanging the experiences in appliance of such new technologies. Rather than the prospects of modelling complex geometries and structures, the main focus lies in new concepts and design strategies emerging from the application of new technologies. Another emphasis is the discussion of the role of analogue and digital models in the design and planning process as well as questions regarding realisation of complex geometries and construction systems.

Invited Key Lecturers
-Robert Aish, Autodesk, Inc.
"Language and Interaction for Design Computation"
-Marc Fornes, Theverymany, New York
“Different, Similar, Identical“
-Axel Kilian, TU Delft
“Designexplorations”
-Wolf Mangelsdorf, Buro Happold London
“Complex Geometries: Strategies for Design and Realisation“
-Andrew Marsh, AEC-Simulation Autodesk, Inc.
"Generative and Performative Design Techniques"
-Norbert Palz, Royal Danish Academy of Fine Arts, Copenhagen
“Materiality without a Past“
-Helmut Pottmann, Geometric Modeling and Industrial Geometry Group, TU Wien
“Paneling Architectural Freeform Surfaces“
-Dennis R. Shelden, Gehry Technologies
"Parametric Modelling and Integrated Project Delivery"
-Kai Strehlke, Herzog & de Meuron, Basel
"CAD-CAM in the design process of HdM- the glas pattern of the Philharmonic Hall in Hamburg"
-Oliver Tessmann, Bollinger + Grohmann, Frankfurt
"Collaborative Design Procedures of Architects and Engineers“
-Rivka Oxman, Faculty of Architecture and Town Planning, Technion, Haifa
"Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium"

091001_@_Galerie Roger Tator (Lyon) (proposal) (2)

2009-10-02T06:45:00.005+01:00

090925_at_Galerie Roger Tator (Lyon) (proposal)

2009-09-24T16:03:00.007+01:00

LYON (France) | n|Edg | Galerie Roger Tator 091409
(invited as part of the "parcours raisonance" of the Lyon Art Biennale)

Despite the installation has already open - I am somehow forced to respect the linear story telling of the blog format - so here are the very first images sent as proposal to the Galerie Roger Tator...

Here the focus of the research was to investigate the tessellation of a double curve surface beyond triangle and arrays of quad - is it possible to generate parts going from three sides to n number of sides?

090925_LECTURE_University Of Toronto

2009-09-24T15:44:00.004+01:00

TORONTO | University Of Toronto | September 25th 2009
Marc Fornes has been kindly invited by Shane Williamson to give a lecture

090906_TVM @ Elga Wimmer Gallery (NYC) (3)

2009-09-22T21:00:00.002+01:00

NEW YORK | MODOID | Elga Wimmer Gallery

by THEVERYMANY
Marc Fornes, Skylar Tibbits, Mat Staudt,
Jared Laucks, Brandon Kruysman, Jon Proto,...

While on its way...

What that one is finally about...

090906_TVM @ Elga Wimmer Gallery (NYC) (2)

2009-09-11T07:47:00.004+01:00

NEW YORK | MODOID | Elga Wimmer Gallery

(pictures while assembling)

by THEVERYMANY
Marc Fornes, Skylar Tibbits, Mat Staudt,
Jared Laucks, Brandon Kruysman, Jon Proto,...

MODOID is part "OVERLAP"
"Extending beyond edges and boundaries in art & architecture"
August 27 - September 19, 2009 (Tuesday - Saturday noon-6:00pm)

Curated and produced by Kelsey Harrington & Christine Yogiaman

www.theoverlap.info

Elga Wimmer Gallery
526 West 26th St, # 310 NY NY 10001
t. 212 206 0006 c.401 316 4303

MORE TO COME...

090906_TVM @ Gallery Roger Tator (France)

2009-09-06T20:54:00.004+01:00

090906_TVM @ Elga Wimmer Gallery (NYC)

2009-09-06T19:33:00.005+01:00

NEW YORK | OVERLAP | Elga Wimmer Gallery
August 27 - September 19, 2009 (Tuesday - Saturday noon-6:00pm)
Reception: Wednesday September 9th 6:00-9:00pm

THEVERYMANY | Marc Fornes, Skylar Tibbits, Mathew Staudt, Jared Laucks, Brandon Kruysman, Jon Proto

THEVERYMANY has been invited by Kelsey Harrington & Christine Yogiaman to produced not so much a piece/installation than encourage to try/test/experiment... the focus this time was not so much on a procedural level neither on a geometrical level - but rather on testing a material technique...

As pretentious as it can sound - research even in design is "somehow" like solving the Cancer - one has to focus on tiny steps - though still keeping in mind the larger picture...

MODOID - is one of those tiny steps - though still within THEVERYMANY usual agenda of procedural, large scale, short timing and low budget experimental framework...
the first of new series - so operative failures to be expected...
though come and see...

IMAGES TO COME AFTER RECEPTION...

090906_FALL09 | Columbia University & USC

2009-09-06T18:21:00.006+01:00

090820_ALOBLUMS (Chile) (2)

2009-09-02T21:14:00.005+01:00

ALOBLUMS Valparaiso (Chile) August 2009
THEVERYMANY / Marc Fornes, Skylar Tibbits, Mathew Staudt
+ collective BANGS & many students from the workshop...

marc fornes installation. from ameliechucky on Vimeo.

Many thanks to Pablo C. Herrera for the video...

090820_ALOBLUMS (Chile)

2009-08-20T14:46:00.021+01:00

ALOBLUMS | Valparaiso (Chile) | August 2009

Design: THEVERYMANY
Design Team: Marc Fornes, Skylar Tibbits, Mathew Staudt
Assembly team: collective BANGS and many students from the workshop...

ALOBLUMS SUM OF ITS PARTS:
sphereoid - 2m (6') approx. diameter...
70 modules (4 types)...
12 sheets of golden anodized aluminum...
cnc cut in Philadeplhia (Continental Signs)...
3700 rivets...
all packed with me on the plane as 2 check in bags (40 and 35 pounds)...

MORE TO COME SOON......

Many thanks to the collective BANGS for the invitation - especially Marcela Godoy for making that workshop happen...

Students:
Eduardo Hirose, Daniel Concha, Diego Moreno, Juan Pablo Klempau, Felipe Valdebenito, Pablo Banda, Francisco Quitral, Hermann Zbindenn, José Luis Guzmán, Victor Bunster M., Drago Vodanovic, Claudio Troncoso, Tomas Jacobsen, Miguel Aravena, Pablo Silva
Francisco Calvo, Camila Rock De Luigi, Francisco Lara, Oscar Terrazas , Gabriel Santander, Oscar Ignacio Contreras, Hernán Castro, Natalija Boljsakov, Brian Miller, Manuel Díaz, Rodrigo Ramírez, Gonzalo Andrade, Andre Geoffroy, Matias Carrera...

BANGS:
Pablo Barría, Begoña Arellano, Claudio Astudillo, José Narea,, Marcela Godoy, Linda Schilling

Extras:
Pablo C. Herrera, Tristan Al Haddad...

090804_Echinoids_(re)configured

2009-08-04T15:56:00.008+01:00

NEW YORK | Bridge Gallery | Echinoids (re)configured

How many people do actualy believe in "failures"?

I do! - while giving talks/lectures I am often arguying about it - "operative failures" - in philosophy, empiricism is a theory of knowledge which asserts that knowledge arises from experience - one of many ways to gain experience is through test and trials - and within the recent jump in scale of the digital craft and the "Do it yourself" paradigm - experience requires failures...

Experiencing failure within prototypes - yes! - and despite often being displayed within art gallery THEVERYMANY's "constructs" are partly installation partly prototypes - though not so much prototypes to see if the systems is actually going to fail? - but rather when? - can failures be expected? - even better anticipated up to embodied within the geometrical system tested potential response?

"the lion sat" - a localized part of Echinoids v1.0 slowly saddled - it didn't break but suffered from "fatigue" - unexpected failure? - blind future? - I would argue for curated ones...

Temporary installation are related to time - but also budget - aggregate systems and their inherent qualities are highly depending on numbers - unfortunately numbers are often the exact opposit vector to time/budget - then if no budget the system requires carefull compositionnal search methods to maintain a scale large enough to be experienced by its viewer as architectural artefact - homogeneity could be one way to go - unfortunately spreading the elements all accross the construct while maintaining structural integrity often requires down sizing...

"until where can one go too far?"

Echinoids system is based on "calculated risk" - calculated risk is different from denying risk or maximising efforts to avoid falires - here the aggregate is designed through variation of desnties - balancing strengh and weakness - fully closed macro-systems as stable larger parts and low density members at transitional areas - a curated aggregate system allowing within its own geometric nature possible partial re-configuration - "explosion" as safe away exit strategy - allowing second lifes for a piece: from construct to environment...

That (re)configuration is only the first one possible - and therefore to be followed along the summer for eventual other ones...

090731_Material Feedback (nyc)

2009-07-31T18:24:00.003+01:00

NEW YORK | STOREFRONT | Material Feedback | Jul 31 2009

On July 31, to mark the close of Reef, Storefront for Art and Architecture will host a discussion among a group of practitioners whose work focuses on digital design, material logic and innovative fabrication techniques. With the crucial objective of forging new relationships between research and practice in mind, this discussion will explore how new methods of fabrication and advances in computational geometry cyclically feed into one another.

The evening will begin with each of the participants presenting images of current work and research, creating a common pool of references open to group discussion. Each participant will be asked to present 10-15 slides within a 5-10 minute period. The discussion will be followed by music and refreshments.

PRESENTATION:

THEVERYMANY | Marc Fornes, Skylar Tibbits
Urbana | Rob Ley
Yanni Loukissas
LabDORA | Peter Macapia
Oyler Wu Collaborative | Dwayne Oyler
11.1 | Axel Schmitzberger
Michael Silver
Radical Craft | Joshua G. Stein
Aranda\Lasch | Chris Lasch

Moderator:
Mark Morris (Cornell University)

090722_WORKSHOP_in_CHILE

2009-07-22T06:52:00.005+01:00

CHILE | Valparaiso | August 10-14th
Marc Fornes will be running a week long workshop:
-partly technique oriented (rhinoscript)
-partly looking at protocols of "Precise Indetermination" into design...
Invitation: "bangs"
(more information on their website)

090717_at_BRIDGE GALLERY (NYC)

2009-07-18T16:51:00.010+01:00

Echinoids | THEVERYMANY | Bridge Gallery | 2009 | nyc

"-oid" is derived from the Latin suffix -oides taken from Greek and meaning "having the likeness of". Thus it is a suffix much used in the sciences and mathematics to indicate a "similarity, not necessarily exact, to something else".
Thus Rhomboid means "like a rhombus". Because -oid denotes similarity, not necessarily exact, but can also denote exactness, in chemistry the suffix refers to a very large class of related compounds, natural and/or synthetic. Examples include steroid (of which sterols are just one smaller group) and alkaloid. (ie wikipedia)

From many parts...
Long. 13.5ft - Larg. 5ft - Height 7.5ft
530 modules
25 Sheets (4*8") Walnut veneer (800 Sft) + olive oil
1600 of Elastic bras straps (Brown, Black, Navy Blue)
4500 screws

To logistic of parts...
Lacing time: 1/2h/module - 40 modules/day!

"RUSTIC COMPUTATION"...

THEVERYMANY | Marc Fornes, Skylar Tibbits, Mat Staudt

090706_at_BRIDGE GALLERY (NYC)

2009-07-06T17:23:00.013+01:00

Once more many parts...

THEVERYMANY @ BRIDGE GALLERY (NYC)
98 Ochard Street New York NY 10002
Opening: Thursday July 9th
(as part of the collective show "Wild child" curated by Peter Macapia)

It is all about "rustic computation"...

Full credits shared with the MANY who made this installation possible...
Also many thanks to PRATT INSTITUTE and our friends at ANYLINE NYC for the laser cutting...

090706_for_SEED MAGAZINE

2009-07-06T17:17:00.003+01:00

“Approximation of the Mind”

Commissioned by Seed Media Group and The Council on Competitiveness as a gift to Sheryl Handler, CEO of Ab Initio, at The State of Innovation Summit in Washington D.C..

Sponsor (Rapid Prototyping): Harbec Plastics

090526_RHINOSCRIPT WORKSHOP PARIS

2009-05-26T18:27:00.004+01:00

PARIS | RHINOSCRIPT WORKSHOP | June 23-24, 2009
Marc Fornes will be teaching a two days Rhinoscript workshop in Paris
Invitation: McNeel Europe - Carlos Perez
Eligibility: Open to all design students and professionals
http://www.eu.rhino3d.com/e-news/rhinoscript_france0609.htm

CONTACT:
MCNEEL EUROPE | CARLOS PEREZ | carlos@mcneel.com
Roger de Flor 32-34 bajos | 08018 Barcelona - Espagne
Tél. +34 933199002 | Fax. +34 933195833

090524_THEVERYMANY @ SELFRIDGES

2009-05-24T16:50:00.013+01:00

Proposal for an installation:
SELFRIDGES - CORNER STORE FRONT LONDON October 2008
The scheme was part of a design call under the theme of "Explosion"...

ON ANALOGIES:
THEVERYMANY very much acknowledge the fact that - even though it focuses exclusively its research and practice on what it self-defines as “explicit and encoded” techniques of design (also described by Marc Fornes as “text based morphologies”) – any design process - whenever based on a top down “idea” or theme - requires first a process of translation back into the design paradigm which is very much based on selective reading, subjective interpretations and analogies…

EXPLOSION (ie Wikipedia.org)
An explosion is a sudden increase in volume and release of energy in an extreme manner, usually with the generation of high temperatures and the release of gases. An explosion creates a shock wave.
DUST EXPLOSION (ie Wikipedia.org)
A dust explosion is the explosive combustion of a dust suspended in air in an enclosed location, which results in harmful effects of overpressure, thermal radiation, and ensuing projectiles.
DEFLAGRATION (ie Wikipedia.org)
Deflagration (Lat: de + flagrare, "to burn down") is a technical term describing subsonic combustion that usually propagates through thermal conductivity (hot burning material heats the next layer of cold material and ignites it). Most "fire" found in daily life, from flames to explosions, is technically deflagration.
DETONATION (ie Wikipedia.org)
Detonation is a process of combustion in which a supersonic shock wave is propagated through a fluid due to an energy release in a reaction zone. It is the more powerful of the two general classes of combustion, the other one being deflagration. In a detonation, the shock compresses the material thus increasing the temperature to the point of ignition. The ignited material burns behind the shock and releases energy that supports the shock propagation. This self-sustained detonation wave is different from a deflagration, which propagates at a subsonic rate (i.e., slower than the sound speed in the material itself). Because detonations generate high pressures, they are usually much more destructive than deflagrations.
SHOCK WAVE (ie Wikipedia.org)
A shock wave (also called shock front or simply "shock") is a type of propagating disturbance. Like an ordinary wave, it carries energy and can propagate through a medium (solid, liquid or gas) or in some cases in the absence of a material medium, through a field such as the electromagnetic field. Shock waves are characterized by an abrupt, nearly discontinuous change in the characteristics of the medium.
When a shock wave passes through matter, the total energy is preserved but the energy which can be extracted as work decreases and entropy increases. This, for example, creates additional drag force on aircraft with shocks.

TRIGGERS:
While that design proposal isn't about “reproducing”, "simulating" or even "mimicking" the esthetic of an explosion – the project is proposing a very articulated geometrical assembly based on specific and curated themes extracted within the field of explosion…

- Projectiles – the project is investigating the concept of numerous “parts” able to produce a non linear assembly – all the parts owns to a precise initial catalogue and can be reconfigured in a similar manner then projectiles can be re-assembled (in theory) into their original parent morphology…
- Increase of volume – the project is looking at ways to create volume from planar components all CNC cut from sheet based materials…
- Propagation through medium – while there is a very limited amount of initial geometrical primitives – the project investigates construction sequence through color differentiation across the entire construct…
- Enclosed location – well…

To be continued...

CREDITS:
Proposal for: SELFRIDGES London October 2008
Design: THEVERYMANY
Team: Marc Fornes, Skylar Tibbits
Scripting: Marc Fornes

090501_THEVERYMANY_ID&CT

2009-05-01T21:11:00.005+01:00

Marc Fornes has been invited as one of the main lecturer for:
INNOVATIVE DESIGN AND CONSTRUCTION TECHNOLOGIES
MILAN (ITALY) May 6 - 7th, 2009

http://www.innovativetechnologies.polimi.it/key_speakers.html

# FORM FINDING and COMPLEX MORPHOLOGY
Chair: Filippo Innocenti (Zaha Hadid Architects)
Sense and Advanced Sensiblity - about the relationship of sensuality, obsessions and advanced design techniques
Matias del Campo - SPAN Architects, Vienna
Partly logic / Logic of parts
Marc Fornes - THEVERYMANY
Parametric models: formal thinking for architects
Arnold Walz - DesignToProduction
Liquid parametrics: fluidity of form and process
Cristiano Ceccato - Zaha Hadid Architects

# ENGINEERING FOR CONSTRUCTION
Chair: Massimo Majowiecky (Studio Tecnico Majowiecky)
From structure to fabrication
Nathaniel Stanton - Buro Happold Special Projects, New York
Shrikant Sharma - Buro Happold SMART Group- London
Geometrical approach to complex architecture
Luca Buzzoni -Arup Italia
Digital methods in structural design
Oliver Tessmann– Bollinger & Grohmann
Complex Building Shapes - a Developer’s Perspective
Bruce Frey, Hines

# DIGITAL FABRICATION and FILE TO FACTORY PRODUCTION
Chair: Stefano Converso (Dipartimento DIPSA, Università degli studi Roma Tre)
A bottom-up approach to the implementation of advanced fabrication methods
John Nastasi - Product-Architecture Lab, Stevens Institute of Technology / Nastasi Architects
Architecture = Information
Marthijn Pool - ONL Oosterhuis - Lénard
Compound curved building surfaces with shaped stone blocks
Christian R Pongratz - Pongratz Perbellini Architects
Application of new “fit-for-use” materials in building and construction market
Erwin van Maaren - Nedcam

# TECHNOLOGICAL INNOVATION and MASS CUSTOMIZATION
Chair Ingrid Paoletti (Dipartimento BEST, Politecnico di Milano)
Parametric Fabrication
Martin Bechthold – Harvard GSD
Evolution of Technical Rationalization in Complex Curtain Wall components
Christian Florian - Permasteelisa Group
Composite Blob Shells
Mike Eekhout - Octatube
Design Driven Innovation
Roberto Verganti - DIG, Politecnico di Milano

090501_THEVERYMANY_Publication

2009-05-01T20:05:00.011+01:00

ALGORITHMIC DESIGN - 090330
www.kajima-publishing.co.jp

2009 publications which are including projects from THEVERYMANY:
("Aperiodic Vertebrae", "Aperiodic Vertebrae v2.0", "Recurisve Growth",...)

AD - ARCHITECTURAL DESIGN
"Theoretical Meltdown"
Guest edited by Luigi Prestinenza Puglisi
Jan/Feb 2009 - p122
John Wiley & Sons Ltd - www.wiley.com

AU - ARQUETETURA E URBANISMO
Especial Arquitetura digital
April 2009 - N 181 - p77
www.revistaau.com.br

PASAJES DE ARQUITECTURA Y CRITICA
Editor: America Iberica
Oct 2008 - N 100 - p18
www.pasajesarquitectura.com

090325_THEVERYMANY_Log

2009-03-25T23:34:00.011Z

SAN FRANCISCO RHINOSCRIPT WORKSHOP March 28-29, 2009
Marc Fornes will be teaching for MCNeel US a two days Rhinoscript workshop as part of FLUX, an event hosted by CCA - California College of the Arts.
Invitation: McNeel US - Scott Davidson
(Thank you to Andrew Kudless from MATSYS - www.materialsystems.org/ - to make it happen!)
http://mlab.cca.edu/?p=453

SAN FRANCISCO RHINOSCRIPT WORKSHOP V2 March 30-31, 2009
Marc Fornes will be teaching a second Rhinoscript workshop while at the Flux event; that one will be hosted by the CCA Industrial Design Department - California College of the Arts.
http://design.cca.edu/graduate/
Note: that second workshop was organized through a direct student request - thank you to Kristin Neidlinger to make that one happen! - if also interested in such rhinoscript workshops do not hesitate to contact me...

090315_(n)CERTAINTIES_DieAngewandte

2009-03-15T21:57:00.011Z

(n)certainties v3.0 | Cross Over Studio | Die Angewandte
STUDIO: Francois Roche, Marc Fornes, Stephan Henrich
Student's work exhibition - Opening: 17. March 2009, 20:30

/// Adam Orlinsky

SCENARIO [ SUBSTANCE > ROBOT > PROTOCOL OF MORPHOLGY ]

/// Jan Gronkiewicz and Valerie Messini

/// Dominik Strzelec and Galo Moncayo

/// Raffael Petrovic

/// Martin Kleindienst and Vladimir Ivanov

/// MirkoDaneluzzo and MartinaJohannaLesjak

FINAL REVIEW //////////////////////////////////////////////////////
(from left to right)Stephan Heinrich, Staphanie Lavaux, , Francois Roche, Alisa Andrasek (Biothing) + (not on the photo) Kivi Sotamaa and Marc Fornes

090309_POLY-FACETS Ceiling (DD)

2009-03-09T04:46:00.011Z

Few images of a entrance hall project developed for a famous high end hotel brand in Bahrain.

The design is pretty simple and mainly relies on a dramatic "weaved" ceiling: its overall surface geometry - symmetric - is responding to two grand staircases; it is "dressed" through similar tiling (non repetitive) based on a simple mix between a honeycomb pattern and a faceted diamond shape.

1.6m x 1.6m mock up (1:1) - Fabrication Milgo/Bufkin, Brooklyn, NYC
The sample panel was fabricated from 8 continuous folded strips, laser cut from flat sheets (1/16" thick stainless steel) and welded together (the overall weights around 90 kilos!)

Originally thought as golden anodized aluminum it was finally replaced with a metallic golden lacquer finish apply once assembled mainly to avoid the maximum of scratches due to processing (laser cut, folding, etc...)

note: many thanks to Lucios Santos for the photos!

090215_THEVERYMANY_Log

2009-02-16T07:17:00.021Z

SAN FRANCISCO | RHINOSCRIPT WORKSHOP | March 28-29, 2009
Marc Fornes will be teaching for MCNeel US a two days Rhinoscript workshop as part of FLUX, an event hosted by CCA - California College of the Arts.
Invitation: McNeel US - Scott Davidson
Location: California College of the Arts, San Francisco Campus
Eligibility: Open to all design students and professionals
(Thank you to Andrew Kudless from MATSYS - www.materialsystems.org/ - to make it happen!)
http://mlab.cca.edu/?p=453
Note: that event is somehow victim of its success and got fully booked within less than a week time! Never mind further Rhinoscript workshops can be organized! if you are interested to host one (or a summer course) do not hesitate to contact directly McNeel or me - it can easily be organized within a University framework or custom tailored for offices to specific problems solving...

LOS ANGELES | ART CENTER COLLEGE OF DESIGN | Friday February 27th
Colloquium – Design Dialogues | Environmental Design Program
Marc Fornes will be doing a lecture as part of "Efficient, See!"
Times Media Center | Hillside Campus
Invitation: Jenna Didier & Oliver Hess

SPRING 2009 /////////////////////////////////////////////////////////////////////////

ANN ARBOR | UNIVERSITY OF MICHIGAN | Spring 09
TAUBMAN COLLEGE OF ARCHITECTURE AND URBAN PLANNING
Marc Fornes has been kindly invited by Tom Buresh (Chair of Architecture at TCAUP) to lead a design studio as visiting faculty.
(Thank you to Karl Daubmann from www.paramod.net to make it happen!)
http://arch.umich.edu/newsandevents/news/?news=3168773550373911885
NOTE: Marc Fornes will give an Informal Lecture/Presentation on Wednesday February 18th - A+A Building East Review Space

JANUARY 2009 ////////////////////////////////////////////////////////////////////////

BOSTON | MIT | Jan 26th 2009
MASSACHUSETTS INSTITUTE OF TECHNOLOGY
Marc Fornes was invited as guest critic to the final review of "Commands and Control", a design and Rhinoscript workshop hosted at MIT.
Invitation: Simon Kim and Skylar Tibbits
With: Dave Pigram, Kyle Steinfeld, Ana Miljacki, Juhong Park and Sigurdur Adalgeirsson (HRI - Human Robot Interface)
http://commandcontrol.wordpress.com/

VIENNA, AUSTRIA | DIE ANGEWANDTE | January 22nd 2009
Final review - Cross Over studio 2008/09
nCertainties v3.0
Studio Francois Roche, Marc Fornes & Stephan Heinrich
With: Kivi Sotamaa & Alisa Andrasek (Biothing)
www.ncertainties3.wordpress.com

CALGARY, CANADA | RHINOSCRIPT WORKSHOP | January 05-07th 2009
Marc Fornes gave a three days Rhinoscript workshop at the FACULTY OF ENVIRONMENTAL DESIGN | University of Calgary | Canada
Invitation: Jason S. Johnson

DECEMBER 2008 ///////////////////////////////////////////////////////////////////////

PHILADELPHIA | UPENN | December 2008
Marc Fornes @ Final review of "Form and algorithm"
Invitation: Roland Snooks
With: Dave Pigram, Ezio Blasetti, Kyle Steinfeld

NEW YORK | GSAPP | December 5th 2009
Final review - Columbia University (Advanced studio)
nCertainties v2.0
Studio Francois Roche, Marc Fornes
with Paula Antonelli (MoMA), Bruce Sterling (cyber punk writer - Italy), Marco Vanucci (AKT - London), Mark Wigley (GSAPP), Roland Snooks (kokkugia)
www.ncertainties2.wordpress.com

090105-07_Rhinoscript Workshop (Calgary)

2009-01-03T04:26:00.004Z

LOG 2009.01.05-07: Marc Fornes will run a three days Rhinoscript Workshop at the FACULTY OF ENVIRONMENTAL DESIGN | University of Calgary | Canada
(invitation: Jason S. Johnson)

THEVERYMANY will also produce & build a new proto-arch - more to come...
(opening on Friday 9th)

081205_(n)certainties2_FINAL

2009-01-01T14:19:00.028Z

081112_Rhinoscript Workshop (McNeel Europe)

2008-11-13T00:11:00.011Z

Due to current teaching positions on both sides of the Atlantic (Columbia University in New York and Die Angewandte in Vienna) – I happen to recently develop the highly specific skills of low end jetsetters: deploying a standard 15” screen laptop in any squeezed space airlines! I am talking here about those ones that obviously based on your financial contribution are pushing to the extreme the basic space efficiency algorithm by taking to new levels the competition of packing the maximum seats in the same exact airplane than everybody else – one can argue fair split? Yes! Though in the case of someone attempting to work it generates an inverse relation between the angle of the sit in front of you and the orientation of your screen (supposedly normal to your eye sight) – add to the conflict of the necessary elbow angle to access the touch pad and the comfort of your side neighbor…

Anyway based on those parameters - which obviously have two solutions: afford other airlines or simply buying a 13” laptop! - I recently surprised myself producing quick renderings as a third solution to the equation: enjoying back in my seat the advantage of performative computing! you don't have to focus on your screen while processing is taking care of your render!...

Anecdote aside – Since I didn't post for a little while now (btw sign of production!) - I thought I would upload my first ever renders in a plane! I can only agree not the best ones - but those were done leaving Paris last September after providing for McNeel Europe a two days Rhinoscript workshop for professionals…

Within this two days workshop the students were introduced to Rhinoscripting through the basics of "building up": from points to curves, from curves to surfaces, and from surface back to extract curves, etc... while on the same time gaining some syntax knowledge it allows to cover in a short period of time some simple patterning (dia-grid, honeycombs), tessellation (non air-tight planar quads) and finally some highly requested components – or basically an introduction toward topology and production of similarity on host surfaces...

Depending on the level – and as a conclusion during the last hour - I tend to introduce the relation between parameters and information (obvious path toward environmental feedback) such a simple possible correlation between a imported direction and the orientation of component, inverse related size of aperture and color coding...

Here are the very modest results of such a workshop - no pretention what so ever - few faces missing here and there! – but simply an introduction to a path going away from render maps and shaders toward the actual informed control of geometry…

Hopefully a small step toward globalization of environmental feedback into the design process? At least many offices pretends to – yet from my experience too often only beautiful colored diagrams for conferences or justification for excessive patterning – but yes like my plane story at the beginning: performance and confort - it all depends on how much you are ready to endure if not willing to pay...

080906_THEVERYMANY_Log

2008-09-06T20:39:00.022+01:00

THEVERYMANY LOG - FALL 2008:
(will be completed on the side column as confirmation & precision arrive):

- 2008.FALL: M.F. is co-teaching a design studio at GSAPP - Columbia University / New York, US (invitation: Francois Roche / R&Sie(n))
www.ncertainties2.wordpress.com (one more webLog!!)

- 2008.FALL: M.F. is co-teaching this year cross-over studio 08/09 at die Angewandte - Universität für Angewandte Kunst Wien, Institut für Architektur / Vienna, AU (invitation: Francois Roche / R&Sie(n))
http://www.dieangewandte.at/architecture/
www.ncertainties3.wordpress.com (and a last one!!!)

- 2008.09.18: M.F. lectures at the Rhino reseller meeting 2008 in Barcelona / Spain (invitation: Carlos Perez / McNeel)

- 2008.09.20: M.F. lectures at C.STEM 2008, Arte Generativa, Sistemi Elettronici e Software-art / Torino, Italy (invitation: Fabio Franchino)
http://www.cstem.it/artists_i.php

- 2008.09.22-23: M.F runs a two days Rhinoscript workshop for McNeel Europe in Paris (invitation: Carlos Perez / McNeel)
http://blog.rhino3d.com/2008/07/rhinoscript-workshop-in-paris-september.html
http://www.eu.rhino3d.com/e-news/rhinoscript_france0708.htm

- 2008.10.08-09-10: M.F. lectures at the "EleganTech" conference in Mexico City, Mexico (invitation: Gabriel Esquivel) - CANCEL!!!

- 2008.10.24-25: M.F. is the curator for the European section of the Architecture Beijing Biennale (present for the opening - October 24th) / Beijing, CHINA (invitation: Neil Leach)

http://www.abbeijing-emarch.com/

Back from summer vacation after a long road trip crossing the US:
8500miles (13700 km) through 22 states, stopped in 21 cities, many national parks (Arches, Zion, Death Valley, Mojave, Grand Canyon,...), and much more "rencontres" and memories...

- (NY) > NEW YORK
- (PENNSYLVANIA)
- (OHIO) > Cincinnati
- (INDIANA) > Indianapolis
- (ILLINOIS)
- (MISSOURI)
- (KANSAS) > Kansas City
- (COLORADO) > Denver
- (UTAH) > Moab - Page - Hurricane
- (NEVADA) > LAS VEGAS
- (CALIFORNIA) > Mammoth Lake - SAN FRANCISCO - Santa Barbara - Palm Springs - Needles
- (ARIZONA) > Flagstaff
- (NEW MEXICO) > Albuquerque
- (TEXAS) > Amarillo - Dallas - Houston
- (LOUISIANA) > NEW ORLEANS
- (MISSISSIPPI)
- (ALABAMA)
- (TENNESSEE) > Nashville
- (VIRGINIA)
- (MARYLAND)
- (NEW JERSEY)
- (NY) > NEW YORK

for the record - fuel prices going from 3,24 (Houston, Texas) to 5.79 (Death Valley, California) per gallon...

080905_CoLab: R&Sie + THEVERYMANY (003)

2008-09-05T16:32:00.006+01:00

LOOPHOLE (Cieszyn, Poland - Cesky Tesin,Czech / 2008)
Collaboration with Francois Roche, principal of R&Sie
http://www.new-territories.com/

Far from being the final scheme - here is one of the many options studied in February...
Further away from weaving - it had its own flavor as well: the "clips" build up was looked at as an assembly of single ring type with standard pipes (of custom length); a ring-pipe steel interface would have still needed to be developed in order to allow the rings to follow the direction of the weave for perfect snapping...

CREDITS:

LOOPHOLE / Design of a pedestrian bridge on the boundaries of the two countries
Cieszyn, Poland-Cesky Tesin,Czech / 2005-2008

Architect: R&Sie(n)… Paris
Associated partner: Marc Fornes on clips parametric version.
Creative team: François Roche, Stéphanie Lavaux, with Sylwia Bogdan, Toshikatsu Kiuchi
Engineer: VP&Green, Paris
Key dimensions: 60 m linear
Client: The city of Cieszyn, in both part, Polish and Czech
Cost: 2 million €

080727_CoLab: R&Sie + THEVERYMANY (002)

2008-07-27T22:10:00.012+01:00

LOOPHOLE (Cieszyn, Poland - Cesky Tesin,Czech / 2008)
Collaboration with Francois Roche, principal of R&Sie (www.new-territories.com)

THEVERYMANY was primarily asked to develop a 3D weaving system.
Weaving protocols are quite straight forward to code as extremely explicit by nature: basically a set of procedure telling up/down/up/down based on a specific period or pattern.

Though in that specific case THEVERYMANY was required to weave through an existing primary direction (or loom) which is non linear - basically a set of "randomly" weaved curves not following one overall set of rules - therefore as no under laying order or "grid" one can't expect within the loops to understand its front, back, left & right neighbors, and therefore if those are up or down... no global sequence of weave can't be applied...

Following a series of tests and options - Marc Fornes / THEVERYMANY in collaboration with Francois Roche / R&Sie ended up developing a set of local agraffes/clips - having to search for their state - here was the very first attempt (February 2008)

(Obviously at that stage no need to run any clash procedure to understand membrure/rib's integrity limit or structural weakness - but enough though to validate the hypothesis of scenario and its possible effect...)

You can find the proposal on new-territories;

CREDITS:

LOOPHOLE / Design of a pedestrian bridge on the boundaries of the two countries
Cieszyn, Poland-Cesky Tesin,Czech / 2005-2008

Architect: R&Sie(n)… Paris
Associated partner: Marc Fornes on clips parametric version.
Creative team: François Roche, Stéphanie Lavaux, with Sylwia Bogdan, Toshikatsu Kiuchi
Engineer: VP&Green, Paris
Key dimensions: 60 m linear
Client: The city of Cieszyn, in both part, Polish and Czech
Cost: 2 million €

080603_CoLab: R&Sie + THEVERYMANY (001)

2008-06-03T13:24:00.006+01:00

Collaboration with Francois Roche, principal of R&Sie (www.new-territories.com)& THEVERYMANY / February 2008

THEVERYMANY was initially asked to developed a plug-in looking at weaving structures - first from a series that post is showing the very first generic tests.

Side notes: WEAVING (ie wikipedia.org)

WEAVING is the textile art in which two distinct sets of yarns or threads, called the warp and the filling or weft (older woof), are interlaced with each other to form a fabric or cloth. The warp threads run lengthways of the piece of cloth, and the weft runs across from side to side.
Cloth is woven on a loom, a device for holding the warp threads in place while the filling threads are woven through them. Weft is an old English word meaning "that which is woven".

The manner in which the warp and filling threads interlace with each other is known as the weave. The three basic weaves are plain weave, satin weave, and twill, and the majority of woven products are created with one of these weaves.

Woven cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs, including tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat. Fabric decorated using a wax resist method is called batik.

The ancient art of handweaving, along with hand spinning, remains a popular craft. The majority of commercial fabrics, in the West, are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby looms and the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency of the Jacquard loom, and the Jacquard weaving process makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design.

WEAVING / PROCESS
In general, weaving involves the interlacing of two sets of threads at right angles to each other: the warp and the weft. The warp are held taut and in parallel order, typically by means of a loom, though some forms of weaving may use other methods. The loom is warped (or dressed) with the warp threads passing through heddles on two or more harnesses. The warp threads are moved up or down by the harnesses creating a space called the shed. The weft thread is wound onto spools called bobbins. The bobbins are placed in a shuttle which carries the weft thread through the shed. The raising/lowering sequence of warp threads gives rise to many possible weave structures from the simplest plain weave (also called tabby), through twills and satins to complex computer-generated interlacings.

Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warpfaced textile such as rep weave. Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weftfaced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry. In tapestry, the image is created by placing weft only in certain warp areas, rather than across the entire warp width.

080530_WORKSHOP_Rhinoscripting (McNeel)

2008-05-30T15:29:00.003+01:00

RhinoScript workshop for professionals organized by McNeel Europe in Paris
E.N.S.A.P.L.V. - 17-18 juin - 9:00 to 17:00
http://blog.rhino3d.com/2008/05/rhinoscript-workshop-in-paris.html
http://www.eu.rhino3d.com/e-news/rhinoscript_france0508.htm

Marc Fornes will teach how to get the most from RhinoScript starting from the basics (operators and functions, conditions, arrays) to the final analysis, description, reconstruction and tessellation of NURBS surfaces.

Marc Fornes, Architect DPLG, is the founder of THEVERYMANY, a design studio and collaborative research forum engaging the field of architecture via encoded and explicit processes. Rhino and RhinoScript expert, Marc collaborates with McNeel on a regular basis.

Ecole Nationale Supérieure d'Architecture de Paris La Villette
11, Rue de Cambrai
Rez-de-chaussée, Bâtiment Nº. 31
Paris 75019
Metro : Corentin Cariou

080528_National Science Foundation Workshop

2008-05-28T14:15:00.003+01:00

THEVERYMANY (Marc Fornes & Skylar Tibbits) have kindly been invited by Conrad Gleber to present their work within a workshop on "Algorithms and Scripting for Visual Art" at La Salle University.

THURSDAY 29 MAY (afternoon) / La Salle University, Philadelphia, PA
http://conradgleber.com/conradgleber/nsf_cpath/

National Science Foundation CPATH Grant
Revitalizing Computer Science Education Through the Science of Digital Media

Jennifer Burg, Wake Forest University, Principal Investigator
Conrad Gleber, La Salle University, Co-Principal Investigator

While computers have become indispensable in communication, social networking, creativity, business, science, academics, and research, the number of students majoring in computer science has fallen dramatically in recent years. Clearly, computer science educators are not taking advantage of the exciting and relevant nature of their discipline. This project investigates ways to make computer science curriculum more interesting and relevant to today's students by linking it to the science of digital media. The interdisciplinary nature of digital media -- with connections to the visual arts, engineering, music, scientific visualization, movies, television, and mobile media -- will be explored through workshops at seven colleges/universities throughout the United States. Representatives from business and industry and diverse academic fields will be asked to identify the knowledge and skills they would like to see in computer scientists involved with them in interdisciplinary collaborations. Over a three-year period, a proposal for college-level computer science curriculum changes will be made that reflects input from educators, industry representatives, artists, and practitioners in areas involving digital media. The resulting curriculum is intended to have a strong scientific base linked to practice in other disciplines in ways that motivate learning and take advantage of the centrality of digital media in modern-day life.

La Salle University: Algorithms, Scripting, and Programming for Visual Art

Can computer programming in a visual context serve as a foundation for teaching computer science? This workshop will research the use of programming for architecture, 3-D design and prototype development, data visualizations, dynamic and interactive displays and will look at the use of computer programming in commercial and academic fields. The aim is to suggest ways to incorporate the findings into computer science curricula.

Participants:
Ken Baldauf, Florida State University, Director of Interdisciplinary Computing
Tom Blum, La Salle University, Computer Scientist
Deloy Cole, Greenville College
Cezanne J. Charles, rootoftwo and ArtServe Michigan
H. Quynh Dinh, Stevens Institute, Computer Scientist
Marc Fornes with Skylar Tibbits, THEVERYMANY, Architects
Ira Greenberg, Miami University, Associate Professor, Interacitve Media Studies/Art
Kyle Gower-Winter, Florida State University, Program in Interdisciplinary Computing (PIC)
Hubert Johnson, Montclair State, Computer Scientist
Dan Falabella, Albright College, Computer Scientist
Abbe Forman,Temple University, Computer Scientist
Jeff Nyhoff,Calvin College, Computer Scientist
John Marshall, University of Michigan, School of Art & Design
Margaret McCoey, La Salle University, Computer Scientist
Todd Pashak, Miami University
Mike Redmond, LaSalle University, Computer Scientist
Gail Rubini, Florida State University, Visual Art and Design
Bill Weaver
David Wicks

080522_INSTALLATION_Tesselion

2008-05-28T00:18:00.006+01:00

TEST ONE-TWO ONE-TWO...
Great blogging again since experiencing some issues with blogspot (and by now kindly sort out by their technical team - THX!) - so hopefully this post will start a series of updates on few projects, colab or research I have been involved with those last few weeks/months...

As a very first update - I would like to congratulate Skylar Tibbits for his final thesis project - "Tesselion" - MANY CONGRATS!!

Skylar - now associate within theverymany on several projects - has invited me several months ago to extend one of THEVERYMANY's on going research and investigation onto Nurbs surface - recently entitled "Partly Surfaces" - or ways to describe them and reconstruct them through different tessellation studies exclusively using flat parts (for simple "constructability" issue)...

Officially invited as thesis advisor my only reserve at the time was -in order to step ahead from the now over crowded paradigm of cosmetic components array onto surface- to require a scale one test proof of the system that would eventually be developed - so here it is finally standing! (hopefully more pictures to come & already many more on the Tesselion blog)

and yes - this can not been seen as "architectural" but rather to my eyes as required "prototypical"...

TESSELATION : Adaptive Quadrilateral Flat Panelization.
www.tesselion.wordpress.com

THEVERYMANY
Skylar Tibbits (design & code)
Marc Fornes (thesis & code advisor)

Material Sponsor: Alliance Metals (www.alliancemetals.com)
Fabrication Sponsor: Jared Laucks and Continental Signs (www.continentalsigns.net)

080507_"let's go MENTAL"_Lopud Seminar 2008

2008-05-07T23:13:00.004+01:00

Last minute log - Marc Fornes / THEVERYMANY has been kindly invited (through Francois Roche / R&Sie) to join Lopud Seminar 2008.

"let's go MENTAL"
Lopud Seminar 2008
DURATION: May 9 - May 12, 2008
LOCATION: Lopud Island, Croatia
http://tba21.org/program/seminars/53/page_2?category=seminars

FundaMENTAL
The most prominent interdisciplinary areas of human interest today are probably those often referred to as generative sciences. The chaos theory, information theory, social network analysis, philosophy of science, epistemology, cybernetics, systems theory and process physics, to mention just a few, belong to this category.
A salient "member" of the group, the complexity theory, explores concepts essential for our understanding of nonlinearity underlying to all reality. It deals with emergence, a construct used to describe a universal phenomenon of a system's increasing complexity spawning processes and/or properties which cannot be detected in the constituting elements or subsystems. The logic of this quantum leap relentlessly applies in a single cell or a living organism, whole eco-systems or man-made structures and systems, whether they are real or virtual, concrete or abstract, material or theoretical.
Often, the related dependency graph is counter-intuitive and a largely non-symmetrical function - our knowledge of any particular level may be useless when it comes to understanding the workings of the next one. We need a different set of tools and concepts. New sciences. Cognition itself is a generative process.
This is a broadening field, which we believe to incorporate an intellectual synthesis of art, architecture music and science which is reflected in the foundation's commissions and events. Peter Corning wrote in 2002: “The synergies associated with emergence are real and measurable, even if nobody is there to observe them." This 2008 workshop, organised on the occasion of the reopening of Your Black Horizon art pavilion by David Adjaye and Olafur Eliasson on Lopud, is the third in a series of such investigations and shall deal with conservation, architecture, design, music, toxicity and botany as well. Experts from all fields are invited.

MedicaMENTAL
Shamanism, healing, religious practice, collective experiences, rituals... Indigenous medicine appears to implicitly rely on emergent properties of both the cure and the organism. This opposes the reductionist approach reflected in extraction of active substances and division of the body to subsystems treated independently. Is this holistic view inherent to all traditional healing techniques? If so, assumed these sets of practices are supervenient to the respective social contexts, how is this cross-cultural feature explained? To which extent was discontinuity of these techniques a transformative process rather than manifest suppression? How much of it was assimilation and/or diffusion into other domains and how did those changes occur? Who are today’s shamans? If rituals can be understood as markers of transformation, does the proverbial use of entheogens have an analogue function? Arcane nature of the knowledge involved affords authority - does that make shamanism as such virtually impossible in a culture increasingly defined by instant access to an accumulated abundance of information - an emergence we're only beginning to evaluate?

ExperiMENTAL
The Garden of Earthly Delights alias Toxic Garden engages with the historical site of the Renaissance garden on Lopud by trying to create a continuity of its actual history and adding a new layer. In this case, the architects introduce the rumours of fear and awe, as it is well documented that the monks of the region actually had standardized their expansive pharmacological knowledge on the medical as well as toxic use of plants and experimented with dosage and effectiveness (possibly on themselves) and the production of antidotes and forms of decontamination. Alongside with the tangible, the intangible heritage is revived and further transformed into an active element of the project - an experiment involving (phyto-) therapy and the confrontation, incorporation and embracement of danger and fear through the actual presence of the toxic substance. More than just participation is taking place: a cathartic cleansing, actively keeping the history intact/alive by accepting it in its very nature. This is also expressed in the morphology of the green house, the form of which actually follows the gravity force by sliding and dripping over the existing terraces - wild in nature rather than domesticated. But, while the randomness is just apparent on the material layer of the carefully "architected" project, the interactions that it triggers represent its indeterminable and experimental aspect.

EnvironMENTAL
Concepts of sustainability and sustainable environmental technologies are essential when contemplating development ranging from the urban landscape to Mediterranean islands. Ecological strategies play a crucial role in redesigning and rehabilitating of cultural landscapes. But concepts of sustainability and environmental solutions often function as ethical branding, driven by market interests, whereas tourism as the main industry of any region involves tendencies that contradict the principles of both sustainability and conservation alike. Many areas suffer from a paradoxical discrepancy between the growing interest they generate and the banality of the daily problems resulting from unresolved environmental and infrastructural issues. Lopud is no exception. Which usable options are presently offered by environmental technologies to a site defined by parameters similar to Lopud's? What are the limits of deployability of such solutions? Which constraints are to be considered? Which experiences can the local community benefit from? Which emergent processes have been reported? Ideally, such solutions should be part of a sustainable strategy that would integrate social and economical aspects as well. Is it conceivable to devise one that would restrain the negative implications of tourism? Which role could and should be played by architects in designing and implementing those strategies? What are the incentives for artists and architects to work with and within such systems in introducing change?

MonuMENTAL
How can one actively make use of or revive the information that is stored in today’s places of memory? What strategies do art and contemporary architecture follow in this process? How can cultural heritage be made accessible without transforming the city and countryside into a big open-air museum? An integral part of a conservation process, rehabilitation by definition implies enabling either continuity of original or compatible contemporary use of a historic site. Is it possible to formulate an approach that would more aptly take into account the evolving and fluctuating circumstances of the site? If the measures of preservation are given the necessary attention - does conservation have to be conservative?

InstruMENTAL
Implementing the results of our experiments and the creation of new radical projects as a result of these departures is instrumental to create a spirit of change and collaboration. We all want that so lets go MENTAL!

Participants of the Debate Sessions are:
Alisa Andrasek (architect, Biothing)
Ben Aranda/Chris Lasch (architects, Aranda/Lasch)
Allora Calzadilla (Jennifer Allora & Guillermo Calzadilla)
Beatriz Colomina (theoretician, Princeton University)
Klaus Daniels (ecological sustainable architecture / technical)
Marc Fornes (architect, THEVERYMANY)
Helene Furjan (architect, Princeton University),
Vit Havránek (curator, tranzit Prague)
Florian Hecker (artist)
Russell Haswell (artist)
Carsten Höller (artist)
Mark Oppitz (ethnographer, Ethnographic Museum, Zurich)
Boris Ondreicka (artist / curator, tranzit Bratislava)
Damian O’Sullivan (designer)
Jorge Otero-Pailos (architect, preservation, Columbia University)
Neri Oxman (architect, MATERIALECOLOGY)
Barbara Ozimec (botanist)
Antonia Majaca (curator, critic)
Marina Mlakar (Rudjer Boskvic Institute)
Maroje Mrduljas (journalist, ORIS)
Tony Myatt (MRS York)
Christian Rätsch (anthropologist)
François Roche/Stéphanie Lavaux (architects, R&Sie(n))
David Rych (artist)
Ognjen Skunca (UNDP Coast Project)
Goran Stojanovic (Dolphin Dream Organization)
Slaven Tolj (artist)
Superflex - Jakob Fenger/Bjørnstjerne Christiansen (artists)
Mark Wigley (architect, Columbia University)

RELATED:

as part of the program we will visit the historic gardens, the proposed site of "The Garden of Earthly Delights" by R&Sie(n) - François Roche and Stéphanie Lavaux.
http://new-territories.com/toxics%20gardenlopud.htm

"The Garden of Earthly Delights" reintroduces rumor and the unknown as a potential narrative of the site, and proposes to keep its vitality and productive imaginary. It is a toxic garden which serves as a link to the historical presence of medicinal gardens, medieval botany, and the preparation of medical tonics, poisons and antidotes by the knowledgeable Franciscan and Dominican monk community in Dalmatia, with contemporary architectural form. This biosphere will serve as a water harvester, a green house, a tea-room (for phyto-therapy) and will be energy self-sufficient. It will serve as a model for eco tourism in Croatia, as well as becoming a historical reference to the past and the distant future of the region.

080406_APERIODIC VERTEBRAE v2.0.2

2008-04-19T00:27:00.006+01:00

Finally back from several events and wanderings all over the place (Paris, New York, Frankfurt, Strasbourg, Barcelona,...) - here is a first update on the prototype THEVERYMANY produced for Node08 / Frankfurt.

Its assembly has this time been a success (and hughe improvement since v1.0) as it took less than 24 hours & 2 people & 2 laptops to (re-)assemble the 360 panels and 320 nodes...

Once more demonstrating us "one better spend its time within development embedding assembly logic rather than waiting the material world to solve the fuzzines..."

(I will update the "information modeling" improvements on the previous post more focused on the digital back bone approach of the piece...)

"Aperiodic Vertebrae v2.0"
THEVERYMANY (project team: Marc Fornes / Skylar Tibbits)
NODE08 (www.node08.vvvv.org)
April 5th - 12th, Frankfurt / Germany

Many thanks to Eno Henze (http://www.enohenze.de/) & the entire VVVV team (http://vvvv.org) for their invitation & sponsorship

Also many more thanks to our sponsors for the piece:

- Quadrant EPP USA, Inc. (www.quadrantepp.com) > provided us sheets of polyethylene (3/16″ thick)

- Continental Signs (www.continentalsigns.net) and Jared Laucks > CNC cut of the panels

- Dick Dunlop > laser cut of the 320 unique connections (3/16″ acryclic)

080406_APERIODIC VERTEBRAE v2.0

2008-04-06T18:45:00.006+01:00

"Aperiodic Vertebrae v2.0"
THEVERYMANY
(project team: Marc Fornes / Skylar Tibbits)
NODE08 (www.node08.vvvv.org)
April 5th - 12th, Frankfurt / Germany

Many thanks to Eno Henze (http://www.enohenze.de/) & the entire VVVV team (http://vvvv.org/) for their invitation & sponsorship

TEMPLATES FOR FABRICATION:
Like the form finding, all the panels, connections pieces and "helpers" coded strings engraved have all been 100% the result of a performative explicit protocol entirely coded in vb...
That part - even though presented down the row as a formal exercice / sculpture - has always been though from scratch as performative test / prototypical methodologie/process to convince further consulting work...

Here are the templates for CNC milling of the panels; 12 unique shapes only are much easier to nest (simple arrays) than all custom pieces...
Many thanks to Quadrant EPP USA, Inc. (http://www.quadrantepp.com/) for providing the 7 sheets of polyethylene required (3/16″ thick)
Many thanks to Continental Signs (http://www.continentalsigns.net/) and Jared Laucks for the CNC cut of those panels

Here are 5 (out of 7) templates for the connections to be laser cut on acrylic sheets (3/16″ thick) - total of 320 unique pieces
Many thanks to Dick Dunlop for the access to the laser cutter (3/16″ acryclic)

080406_CONSULTANT_Automatic(Notche+Unroll)

2008-04-06T16:43:00.010+01:00

(credits: original photos by Arkfinder via CONTEMPORIST)

[C]space is the winning competition entry in the ‘AADRLTen’ Pavilion project, an advanced technology concrete structure that will be erected in Bedford Square,London. The AADRL10 exhibition will open on the 22 February 2008 and the Pavilion will officialy open on 13 March 2008 along with the release of the DRL10 Book. The structure is being designed and developed by Alan Dempsey and Alvin Huang with Adams Kara Taylor and members of the DRL. (http://cspacepavilion.blogspot.com)

In advance of the work on site, the team built a 1:10 scale model to do a final check on the fit of all 850 peices. The model uses 3mm thick mdf, which is about twice the thickness of the real elements so the real structure will look even more delicate than the model.....but it will still come to around 30 tons of concrete and 7 tons of steel. (http://cspacepavilion.blogspot.com)

This post is finally an update about a consultancy job done already quite some times ago now (last November!); THEVERYMANY was then asked by Alving Huang /[C]SPACE Pavilion to write some codes to generate all the assembly notches at the intersection of the structural members and automatically unroll their profiles; the different codes were finally wrapped up within a vb.NET plug-in.

(credits: original photo by photographer Philippe Brysse)

CREDITS: DRL TEN Pavilion

Alan Dempsey / Alvin Huang
Material Consultants: Wolfgang Rieder, Maria Pixner, Gerhard Enn,
Arnold Leiter, Bodo Röder
Structural Engineers: Hanif Kara, Reuben Brambleby,
Oliver Bruckermann, Jugatx Ansotegui
3D Scripting Consultants: Marc Fornes, Eugene Han
Construction Team: João Bravo da Costa, Arnold Leiter,
Aditya C Chandra, Alan Jinsoo Kim, Jwalant Mahadevwala,
Rashiq Muhammad Ali and current Phase 1 students, DRL V.11.1

Special respect to Alvin Huang for the quality of the design... and congrats to everyone else involved!!!

080330_LOG

2008-03-30T19:11:00.006+01:00

Currently working in parallel on many projects/collaborations while being temporally delocated back and forth to Europe (currently in Paris) - here is a fast furious post to log on three future events I will be participating within the coming two weeks: MIND08 (New York), SIMAE (Barcelona), NODE08 (Barcelona)

------------------------------------------------------------------------

- MIND08 Design and the Elastic Mind Symposium (New York)
http://www.mind08.com/

Marc FORNES & SKYLAR TIBBITS will be giving a talk entitled "Partly surface";

Friday, April 4 9:00 AM to 6:00 PM
Parsons The New School For Design
Tishman Auditorium
66 West 12th Street, New York City

Collaboration between science and design is yielding a radical new way of visualizing, understanding, and manipulating the natural world. MIND08 is a conference, presented by Seed and MoMA and inspired by Design and the Elastic Mind, which aims to catalyze this convergence. Bringing together an eclectic group of speakers and participants, including leading scientists, designers, and architects, the conference will explore topics such as the personal genome, brain visualization, generative architecture, and collective design. MIND08 is an opportunity to interact with the ideas and thinkers transforming our visual and intellectual landscape.

"Experiments in Organic Design"
11:15 AM – 12:45 PM Introduction by Paola Antonelli and Adam Bly
- Neri Oxman - Materialecology
- Erik Demaine - Computational Origami
- Bradley Samuels - Nature and Artifice
- Skylar Tibbits / Marc Fornes - Partly Surface
- Greg Lynn - New City

------------------------------------------------------------------------

- SIMAE Contemporary Techniques, New Strategies (Barcelona)
http://simae.net/en/simposi.php

Marc Fornes / THEVERYMANY will be giving a talk (Friday April 11th)

2008 International Architecture Symposium
9-11 April 2008

Everything we see and witness around us is affected by technological progress and the force of social issues, especially the economic factors of our times. We have experienced fundamental, irreversible changes in a myriad of contexts: globalization, the technological and digital revolution, and new production systems, with delocalization to other continents, and their subsequent increase in purchasing power. These changes even affect the delicate balance of our ecosystem.

SPEAKERS (Friday 11th)
Denis Dollens ( EXODESIC / Santa Fe Art Institute )
Frederic Fol Leymarie ( University of London, UK )
Alvin Huang & Alan Dempsey ( Future Systems Architects, UK )
Marc Fornes ( THEVERYMANY, USA )
Joan Guash ( RDI, Grans Projectes ASCAMM )
Alberto Estevez ( Director Ma Arquitectura Biodigital EsArq_UIC )

Bernard Cache ( Objectile, France )
Evan Douglis ( Chairman, Pratt School of Architecture, USA )
Ali Rahim ( University of Pennsylvania PennDesign, USA )

Moderated by Evan Douglis
Special Guest: Alejandro Zaera ( FOA, UK )

------------------------------------------------------------------------

- NODE08 (Frankfurt)
http://node08.vvvv.org/?

THEVERYMANY ( Marc Fornes & SKYLAR TIBBITS ) will be giving a talk entitled "Explicit&Encoded" and setting up "APERIODIC VERTEBRAE v2.0";

APRIL 5-12TH - VELVET CLUB - FRANKFURT

NODE08 is dedicated to the arts of digital media. Whether its about media art, controlling lighting systems, interactions with the real world, synaesthetic experiences or video projections into 3d spaces – either way, software becomes the central working media. The focus of this event lies in the workshops and speeches in which artists, designers, architects and the technical minded share their knowledge and works by means of various exhibitions and situations with the Luminale audience. Meet renowned artists from all over the world and developers who – inspired by the many possibilities – realize a great deal of their projects employing the software project vvvv, which started out in Frankfurt am Main.

TUESDAY APRIL 08TH
Symposium moderated by Eno Henze at the Velvet Club
(Weissfrauenstrasse 12-16, Frankfurt)

Joreg + Sebastian Gregor + Sebastian Oschatz + Max Wolf
Paul Prudence (www.dataisnature.com)
Berthold Scharrer "SINE Matters - computed geometry in architecture"
Herbert W. Franke "Grafik aus dem Computer - Auf dem Weg zum Cyberspace"
Casey Reas (www.processing.org) "FORM + CODE"
What are the relationships between code (computer programs) and visual form? This presentation is centered around seven themes: What is Code?, Computers and Form, Repetition, Transformation, Parameters, Visualization, and Simulation. Using these themes as a foundation, the history of procedural and algorithmic work is discussed through examples from visual design, art, and architecture.
Mark Fornes & Skylar Tibbits (THEVERYMANY) "Explicit & Encoded"
Regine Debatty (www.we-make-money-not-art.com) "Genetically Modified Art"
Verena Kuni - "back to the future".

080308_RecursiveGrowth_Series03

2008-03-08T22:39:00.005Z

RECURSIVE SERIES (update 080308)

SIDE_TRACK ON RECURSION: "Droste effect" (wikipedia.org)
The Droste effect is a Dutch term for a specific kind of recursive picture[1], one that in heraldry is termed mise en abyme. An image exhibiting the Droste effect depicts a smaller version of itself in a place where a similar picture would realistically be expected to appear. This smaller version then depicts an even smaller version of itself in the same place, and so on. Only in theory could this go on forever, practically it continues only as long as the resolution of the picture allows, which is relatively short, since each iteration exponentially reduces the picture's size. It is a visual example of a strange loop, a self-referential system.

LOG "SMART GEOMETRY 2008":
I am just back from the smartgeometry conference 2008 hosted within the Coop Himmelblau BMW building in Munich (Germany) - even more than during the last year event in New York the historical consensus within the founding partner of the event on the specific platform sponsoring the event is definitively re-questioned - hopefully that artificially maintained monopole (clearly understood as a funding issue) will shift in the next venue toward a much larger agenda on the use of computation within the field of architecture - anyway many interesting work presented - sustainability and solar gain are definitively the hot topics...

to all the many people I have met through the conference keep in touch...

080219_RecursiveGrowth_Series02

2008-02-21T08:18:00.005Z

First images of a second series based on Recursion - here the major difference in morpholgy is due to tests for future connexions panels to panels - each panel is now sharing an entire edge with its neighbor but also with its previous generation...
Also the recursive subdivision isn't uniform anymore through the entire aggregate...

080217_RecursiveGrowth_Series01

2008-02-18T01:12:00.006Z

BIO(x)...

"BIOmorphic" it first became (or eventually came back for the one who believes in trend periodicity...)

"Architectural theory" directly responded early 2000 by the concept of "BIOmimetism" as the hot topic for architects surfing on the what's next weave after the "BIOmimicry" which emerged in parallel from the animation software at the end of the nineties... yes it does make sense to look "how nature would solved a problem" rather than looking at nature itself - though each of us had to re-discovered that yes "in nature form is free and structure is expensive"... and therefore -except if your extreme diva character allows you to afford sometimes absurd ways of manufacturing- one might rather look at post modernism as the human Nature way of saving on form (though btw also often wasting on structure via demonstrative cantilevers)...

"Ecologies" -which emerged nearly five years ago within the architectural discourse- seems to be still the current natural evolution of the Bio(x) phenomenon: yes there should be some kind of balance since so many different feedbacks can be input as parameters onto what is often simply pictured as a gigantic "design process dash board" aiming toward performances - it is somehow making sense, or eventually once more it should make sense...

This Bio(x) history has no intention to be accurate or exhaustive - it can definitively be seen as a very cliche summary - though here required as frame work or axiom of that specific series...

"BIOmodelism"

THEVERYMANY "series" have yet no pretention to be smart as biomimetism or aiming toward new ecologies... there are based on a very simple and straight forward oldschool empiric lab approach trying first to understand existing mathematical/geometrical models as explicit and ordered sets of instruction, learn to replicate them through coding and finally within that process strategize in terms of design...

That last step often result in compromising the integrity of the original model - I am calling that approach "Modelism" as a derivate from "building model" where you're first trying to understand the kit of parts and then reassemble it to match the model - THERYMANY "series" are based on such process except that it is somehow like building blind or simply without the schematic where the emergent tolerances are distinguishing the result as "design" from its diagram...

Though yes - as some of those models are directly coming from early ways trying to replicate natural phenomenon - a direct resemblance to nature often emerge through the resultant form and structures...

this can sometimes reveal itself quite tricky looking at the current trend of Voronoi mimicry, soon it will replace the post modern box as standard! though at least for once intricate detailing about it and a slight notion of scale could transform it into architecture rather than simply inhabitable diagrams... sorry for such sarcasm as THEVERYMANY has actively collaborate to its success but as sort of young Jedi constantly trying to master new techniques within the field, I am afraid many more prototypical models will than unfortunately follow such downfall...

THEVERYMANY « Series » - "une histoire a suivre..."

RECURSION in mathematics and computer science, is a method of defining functions in which the function being defined is applied within its own definition. The term is also used more generally to describe a process of repeating objects in a self-similar way. For instance, when the surfaces of two mirrors are almost parallel with each other the nested images that occur are a form of recursion. (ie wikipedia),

RECURSIVEGROWTH - Generation 1 to 7 - is based on a coming back to "Recursion" (ie previous tests on subdivision, etc...) as the ultimo model of periodicity - why periodicity after many non-linear approaches? simple: the last series based on aperiodic tilling or replication were used because of high repetition within its model - therefore whenever one is approaching the concept of repetition its ultimo and endless quest is maximizing it...

periodicity for its advantages: easy nesting because exact same elements, also therefore easy nomenclature, ornamentation can be more intricate as repetitive, etc...

material system: flat panels - 4 types - also high repetition within the connections
to be continued...

080131_Exhibition: Aperiodic_Vertebrae (day4)

2008-02-01T02:47:00.000Z

"Generator.x 2.0: beyond the screen..." an exhibition curated by Marius Watz at the DAM(Berlin) with works by Jared Tarbell (US), Commonwealth (US), Theverymany (FR/US), Leander Herzog (CH), Marius Watz (NO) and participants of the Generator.x 2.0 Workshop...

THEVERYMANY (Marc Fornes, Skylar Tibbits) / Aperiodic_Vertebrae
LOG_assembly_day_04: things are going smoother - one day to go before the opening...

080130_Exhibition: Aperiodic_Vertebrae

2008-01-31T06:09:00.000Z

THEVERYMANY has been set up based on a continuum research on explicit and encoded protocols within design - the first implicit consequence of its core is to let traces; those traces - often under the format of simple text files - allow to exactly reproduce or alter the model, eventually share axioms... but it somehow also requires to admit and assume those traces, if so, one can learn from mistakes, errors and/or tolerances of previous stages or generation based on feed back...

Yesterday was the kick start in Berlin of the assembly process for the installation -once again the amount of components generated through a long chaine of various small codes / utilities has directly revealled "dirt"/issues hidden behind a fast/furious seamless process... yet nothing extraordinary beyond the purpose of a physical mock up: large scale test for a complete automate pipe line of form & drawing generation...

DIRTY DIGITAL:
One of the significant issue we came across is related to the nature of tiling and computation - the subdivision algorythm is based on a recursive protocol (or SUBSTITUTION) which is first drawing a primitve pyramide (within a choice of four primitives) which then gets subdivide - the process is repeated many times within itself to generate self-similarity... the issue there is that within each generation the protocol requires to "compare" (points, lenght, areas, etc...) and that matching process needs to determine whether two geometry or parameters are "equal" given an inevitable rounding errors... unfortunately the rounding errors are bound to accumulate whithin each generation...

Yet it wasn't any special issue except when point connection gets generated and therefore requires to increase the tolerance factor not to miss any neighbors... though applying overal tolerance is triggering other error trapping while small naming or matching utilities code are running as host on the larger protocol...

Anyway - suming up it is yet still triggering slight erros and confusion - though I'd like to be transparent and learn within those error trapping - it is defintively part of a certain material paradigm debugging...

Let see which surprises are we getting tomorrow...
"a chaque jour sa peine..."

080124_Exhibition: Aperiodic_Vertebrae

2008-01-25T02:12:00.000Z

THEVERYMANY (Marc Fornes, Skylar Tibbits) has been kindly invited to exhibit a physical piece at "Generator.X v2.0: Beyond the screen" - a workshop and exhibition about digital fabrication and generative systems curated by Marius Watz (http://www.generatorx.no/) in collaboration with Club Transmediale and [DAM] Berlin.

Based onto earlier experimentation (Aperiodic series) the installation is an assembly of nearly 500 flat panels (11 types) all milled within 6 sheets (8 feet by 4 feet) of corrugated plastic (4 colors: black, silver grey, white and translucent) and also nearly 500 assembly details (moreless all unique!) all laser cut onto 7 sheets of transparent acrylic...
Despite mesuring 13 feet long (after been scaled nearly by half for simple reason of space available within the gallery!) all the panels and assembly details are now flying over nested within one suitcase only...
(pictures of the assembly process should come up soon)

It has been quite some intense moments of scripting since last weekend - mainly sequences of utilities codes - in order to perform a complete automaton starting from the first 4 nurbs curve (those ones were drafted!), the generation of the geometries till the production of each components, notches, unroll, color coding, naming, etc... but there were also a lot of discussion on logic, sequence and protocols to be set up in order to PRE-facilitate as much as we can the entire physical re-fold-assembly of nearly a thousand parts...
Illustrated above (top) the layout of one of the acrylic sheet (number 6) with 66 assembly details - all got named with the number of the piece (as text + name of the object) + each notche with the color of the brick it should connect to and the name of its panel it should locked in...
Illustrated above (bottom) the lay out of one of the 11 types of panels onto a sheets of corrugated plastic - the intersting figure is that the nesting of the panels sheets has been the only hand protocols as a simple traight forward array of the same geometry - this is where it is a hughe gain of time and energy as nesting for so many parts if different would take ages (if even only possible) to find an efficient nested solution...
That starting hypothesis of embeded relative simplicity due to the self-similarity (without even counting the labor time saved to look for the right panels when assembling - imagine a pile of 500 panels to pick from?!!) is RE-questioning the complete mass customization fashion and other kit of parts...
Though the amount of components generated which have to be RE-assembled is also RE-questioning the limit of using generative processes without going further down the line using assembly robots...

Generator.x 2.0: Beyond the Screen
24 Jan - 2 Feb 2008, Ballhaus Naunynstrasse / [DAM] Berlin

Credits:
Design: THEVERYMANY (Marc Fornes + Skylar Tibbits)
Scripting: Marc Fornes
Manufacturing protocols: Marc Fornes + Skylar Tibbits
Laser cutting: Skylar Tibbits
CNC & material research: Jared Laucks
Assembling: Skylar Tibbits (+ helpers!)

ANYONE IN BERLIN INTERESTED TO HELP ASSEMBLING IS HIGHLY WELCOME!!
PLEASE COME OVER AT THE [DAM] GALLERY
(starting on the Jan 29th till February 2nd)

080121_Consulting: polyhedrons frame structure 02

2008-01-21T23:35:00.000Z

following up on some side escapism while running on more "rational" automaton for an exhibition in berlin (more to come soon)
here the previous code developped for the course of a friend at Knowlton School of Architecture has been applied onto some random polyhedrons.

080118_Consulting: polyhedrons frame structure 01

2008-01-19T20:43:00.000Z

I recently happen to write few codes for Aurel Von Richtofen who is teaching a course/seminar based on rhinoscript at the Knowlton School Of Architecture (Ohio State University) like: select points within closed polygones, points relaxation/explosion, frame along the edge of polygons, etc...
Whenever I have here or there an hour to kill I often happen to re-read a previous code, clean it and often push it slightly further to render few frames - here are some random fast track results...

PROTOCOL (original version):
- for each closed polygons
- for each faces
- extract edges
- add polylines: array(edge start pt, end pt,face centroide)
- offset the curve (on face - toward the centroide)

Many "quick fix" upgrades are possible:
recursive subdivision according to face aera, membrure thickness according to edge length, etc...

080115_"SunCare"

2008-01-15T07:20:00.000Z

Tooling development (in progress) for SOM - different codes:

- Panels: honeycomb subdivision of a nurbs surface based on the UV coordinates of an host nurbs surface (here a sphere) - each cells is re-subdivided into planar panels (triangles) which are able to rotate onto the edge they share with the original cell.

- "SUNCARE" : the facade panels are rotating based on a Sun path "analysis" - in that exemple a random arc inclined 45 degree - though can easily be ploted based on the GPS coordinates of the site and the sun data using as parameters the azimuth and elevation (thx to Neil Katz).

- Animation: rhino animation (number of frame according to sun data sampling) where the honeycomb panels open whenever directly exposed to the sun (with decay)...

AZIMUTH AND ELEVATION - an angular coordinate system for locating positions in the sky. Azimuth is measured clockwise from true north to the point on the horizon directly below the object. Elevation is measured vertically from that point on the horizon up to the object. If you know the azimuth of a constellation is 135° from north, and the elevation is 30°, you can look toward the southeast, about a third of the way up from the horizon to locate that constellation. Because our planet rotates, azimuth and elevation numbers for stars and planets are constantly changing with time and with the observer's location on earth.

080114_Boolean_Series002

2008-01-14T05:50:00.000Z

Since my very traditionalist architectural educational background in France - the Sphere has been unfortunatly very early on associated my history & theory course and french Neo-classical (though utopist) architects such as "Nicolas Ledoux" - and therefore temporally banished from my formal language ever since; so what is it that suddenly brings it back? was it the Star Wars "baby boom"? is it Rem Koolhaas and his (re-)recent fascination for the icone as primitives like in his recent proposal for the Ras al Khaimah Convention and Exhibition Centre in the UAE?

PROTOCOL:
- pick a closed surface or polysurface
- plot random points within that solid
- assign a sphere to each of the points; its radius being either the same for each or weighted according to the color of the point
- for every point boolean its sphere with his neighbours

"SIDE TRACK" : ELEVEN PROPERTIES OF A SPHERE (ie wikipedia.org)
In their book Geometry and the imagination David Hilbert and Stephan Cohn-Vossen describe eleven properties of the sphere and discuss whether these properties uniquely determine the sphere. Several properties hold for the plane which can be thought of as a sphere with infinite radius. These properties are:

The points on the sphere are all the same distance from a fixed point. Also, the ratio of the distance of its points from two fixed points is constant.
The first part is the usual definition of the sphere and determines it uniquely. The second part can be easily deduced and follows a similar result of Apollonius of Perga for the circle. This second part also holds for the plane.

The contours and plane sections of the sphere are circles.
This property defines the sphere uniquely.

The sphere has constant width and constant girth.
The width of a surface is the distance between pairs of parallel tangent planes. There are numerous other closed convex surfaces which have constant width, for example Meissner's tetrahedron. The girth of a surface is the circumference of the boundary of its orthogonal projection on to a plane. It can be proved that each of these properties implies the other.
A normal vector to a sphere, a normal plane and its normal section. The curvature of the curve of intersection is the sectional curvature. For the sphere each normal section through a given point will be a circle of the same radius, the radius of the sphere. This means that every point on the sphere will be an umbilical point.

All points of a sphere are umbilics.
At any point on a surface we can find a normal direction which is at right angles to the surface, for the sphere these on the lines radiating out from the center of the sphere. The intersection of a plane containing the normal with the surface will form a curve called a normal section and the curvature of this curve is the sectional curvature. For most points on a surfaces different sections will have different curvatures, the maximum and minimum values of these are called the principal curvatures. It can be proved that any closed surface will have at least four points called umbilical points. At an umbilic all the sectional curvatures are equal, in particular the principal curvature's are equal. Umbilical points can be thought of as the points where the surface is closely approximated by a sphere.
For the sphere the curvatures of all normal sections are equal, so every point is an umbilic. The sphere and plane are the only surfaces with this property.

The sphere does not have a surface of centers.
For a given normal section there is a circle whose curvature is the same as the sectional curvature, is tangent to the surface and whose center lines along on the normal line. Take the two center corresponding to the maximum and minimum sectional curvatures these are called the focal points, and the set of all such centers forms the focal surface.
For most surfaces the focal surface forms two sheets each of which is a surface and which come together at umbilical points. There are a number of special cases. For canal surfaces one sheet forms a curve and the other sheet is a surface; For cones, cylinders, toruses and cyclides both sheets form curves. For the sphere the center of every osculating circle is at the center of the sphere and the focal surface forms a single point. This is a unique property of the sphere.

All geodesics of the sphere are closed curves.
Geodesics are curves on a surface which give the shortest distance between two points. They are generalisation of the concept of a straight line in the plane. For the sphere the geodesics are great circles. There are many other surfaces with this property.

Of all the solids having a given volume, the sphere is the one with the smallest surface area; of all solids having a given surface area, the sphere is the one having the greatest volume.
These properties define the sphere uniquely. These properties can be seen by observing soap bubbles. A soap bubble will enclose a fixed volume and due to surface tension it will try to minimize its surface area. Therefore a free floating soap bubble will be approximately a sphere, factors like gravity will cause a slight distortion.

The sphere has the smallest total mean curvature among all convex solids with a given surface area.
The mean curvature is the average of the two principal curvatures and as these are constant at all points of the sphere then so is the mean curvature.

The sphere has constant positive mean curvature.
The sphere is the only surface without boundary or singularities with constant positive mean curvature. There are other surfaces with constant mean curvature, the minimal surfaces have zero mean curvature.

The sphere has constant positive Gaussian curvature.
Gaussian curvature is the product of the two principle curvatures. It is an intrinsic property which can be determined by measuring length and angles and does not depend on the way the surface is embedded in space. Hence, bending a surface will not alter the Gaussian curvature and other surfaces with constant positive Gaussian curvature can be obtained by cutting a small slit in the sphere and bending it. All these other surfaces would have boundaries and the sphere is the only surface without boundary with constant positive Gaussian curvature. The pseudosphere is an example of a surface with constant negative Gaussian curvature.

The sphere is transformed into itself by a three-parameter family of rigid motions.
Consider a unit sphere place at the origin, a rotation around the x, y or z axis will map the sphere onto itself, indeed any rotation about a line through the origin can be expressed as a combination of rotations around the three coordinate axis, see Euler angles. Thus there is a three parameter family of rotations which transform the sphere onto itself, this is the rotation group, SO(3). The plane is the only other surface with a three parameter family of transformations (translations along the x and y axis and rotations around the origin). Circular cylinders are the only surfaces with two parameter families of rigid motions and the surfaces of revolution and helicoids are the only surfaces with a one parameter family.

080110_Boolean_Series001

2008-01-11T08:18:00.000Z

"SIDE TRACK" : CONSTRUCTIVE SOLID GEOMETRY (CSG) (ie wikipedia.org)
Constructive solid geometry (CSG) is a technique used in solid modeling. CSG is often, but not always, a procedural modeling technique used in 3D computer graphics and CAD. Constructive solid geometry allows a modeler to create a complex surface or object by using Boolean operators to combine objects. Often CSG presents a model or surface that appears visually complex, but is actually little more than cleverly combined or decombined objects. (In some cases, constructive solid geometry is performed on polygonal meshes, and may or may not be procedural and/or parametric.)

The simplest solid objects used for the representation are called primitives. Typically they are the objects of simple shape: cuboids, cylinders, prisms, pyramids, spheres, cones. The set of allowable primitives is limited by each software package. Some software packages allow CSG on curved objects while other packages do not.

It is said that an object is constructed from primitives by means of allowable operations, which are typically Boolean operations on sets: union, intersection and difference.

A primitive can typically be described by a procedure which accepts some number of parameters; for example, a sphere may be described by the coordinates of its center point, along with a radius value. These primitives can be combined into compound objects using operations like these:
- boolean union: the merger of two objects into one.
- boolean difference: the subtraction of one object from another.
- boolean intersection: the portion common to both objects

Combining these elementary operations it is possible to build up objects with high complexity starting from simple ones.

EXTEND:
in the case of spheres as primitives - if all have the same exact radius, the complex composite object -resultant from a set of boolean operations- can be describe out of one spherical mould from which all the different parts are trimmed: the challenge here will be to describe and catalogue all the parts not as geometry but rather as 3d trim paths for robotic arm...

071213_Honeycomb_Cushion

2007-12-14T05:32:00.000Z

Fast track SOM "tooling": developed within the same frame work than "070720_SOM_Rhinoscripting_Class" - the code has been rapidly twiked in order to generate Honeycomb "cushions"; applied onto a primitive geometry type of host - here onto a cylindre - all the cushions are the exact same, except for their orientation: randomly inward or outwoard (therefore two moulds would still be required)

REFERENCE:
Somehow - within that generic test - the bump effect displayed here calls for an obvious references to Herzog and Demeuron's Prada building (though diagrid - glass) or Munich stadium (once more diagrid - inflated ETFE cushions)

PARAMTERS:
- honeycomb vertices in a row
- honeycomb vertices in a column
- depth for the "cushion"
- target percentage for the random number of cushions oriented outward or inward

"SIDE TRACK": ETFE (ie: wikipedia.org)
ETFE (Ethylene Tetrafluoroethylene) is a fluorocarbon-based polymer (a fluoropolymer): a kind of plastic. It was designed to be a material with high corrosion resistance and strength over a wide temperature range.

An example of its use is as pneumatic panels to cover the outside of the football stadium Allianz Arena or the Beijing National Aquatics Centre - the world's largest structure made of ETFE film (laminate). The panels of the Eden Project are also made of ETFE and the Tropical Islands have a 20.000 m² window made of this translucent material.

ETFE is commonly used in the Nuclear Industry for tie or cable wraps. This is because ETFE exhibits excellent mechanical toughness and a chemical resistance that rivals Polytetrafluoroethylene (PTFE). In addition, ETFE exhibits a high-energy radiation resistance and can withstand moderately high temperatures for a long period of time.

Examples of brand names of ETFE are Tefzel by DuPont, Fluon by Asahi Glass Company and Texlon by Vector Foiltec.

071117_Aperiodic_Series003_Gazebo

2007-11-26T07:29:00.000Z

PAVILION - Free-standing structure (ie wikipedia)
Pavilion may refer to a free-standing structure sited a short distance from a main residence, whose architecture makes it an object of pleasure. Large or small, there is usually a connection with relaxation and pleasure in its intended use. A pavilion built to take advantage of a view is referred to as a gazebo.

POWERS OF TEN (ie wikipedia)
Powers of Ten is a 1977 short documentary film written and directed by Charles Eames and his wife, Ray. The film depicts the relative scale of the Universe in factors of ten (see also logarithmic scale and order of magnitude). The film is a modern adaptation of the 1957 book Cosmic View by Kees Boeke---and more recently is the basis of a new book version. Both adaptations, film and book, follow the the form of the Boeke original, adding color and photography to the black and white drawings employed by Boeke in his seminal work (Boeke's original concept and visual treatment is all too often uncredited or insufficiently credited in contemporary accounts).

The film begins with an aerial image of a man reclining on a blanket; the view is that of one metre across. The viewpoint, accompanied by expository voiceover by Philip Morrison, then slowly zooms out to a view ten metres across ( or 101 m in standard form), revealing that the man is picnicking in a park with a female companion. The zoom-out continues, to a view of 100 metres (10² m), then 1 kilometre (10³ m), and so on, increasing the perspective—the picnic is revealed to be taking place near Soldier Field on Chicago's lakefront—and continuing to zoom out to a field of view of 1024 metres, or the size of the observable universe. The camera then zooms back in to the picnic, and then to views of negative powers of ten—10-1 m (10 centimetres), and so forth, until we are viewing a carbon nucleus inside the man's hand at a range of 10-18 metre.

AA PAVILION "the powers of ten"
The different renders of that post are extracted from theverymany proposal for the AA Ten pavilion competition. The proposal was looking at "self-similarity" as the driving force behind the structure of its pavilion somehow allowing similarities within the possible "fractal" variation of the scale of its components -embeded within the logic of its aperiodic packing- and the emergent filiation between the 10 generations of AADRL graduates: all are different and all somehow within a certain depth are very similar...

Theverymany is now developping further its proposal -currently pushing with its aperiodic series- and is looking for sponsors and eventual venues to construct it - anyone interested?...

071117_Aperiodic_Series002

2007-11-17T22:37:00.001Z

The flower is said to be the most conspicuous part of the plant. Their appeal has encouraged Man to know and possess them, developing technique such as gardening. The beauty of their petals - regarded as a highly modified leafs - has mainly been developed to attract pollinators (insects, birds or bats) which play an important role in the reproductive process of pollinating.

As an architect the easy shortcut of assimilating petals to cladding is a very tempting analogy: even though both have very different constraints and mode of operation, cladding -like petals- other than defining and protecting its host is often mainly regarded as an ornamental design exercise with one function only: made to attract… though within one rule only: within budget!

Here that shortcut has been taken to its paradigm as starting hypothesis: assuming the time of a geometrical wandering only - like some sort of temporary but controlled amnesia- that a cladding strategy could be elaborate on a flower attraction effect (affect??) though not by the complex geometry of its petal but rather by the intricacy of its assembly…

If “within a certain cost” intricacy can only be achieved within repetition - here:
- take 4 flowers (flower as assembly but also assemblage) describe within a pyramid
- each flower is made of 4 petals
- each petal is simplified based on a closed nurbs curve written within a triangle
- but also each petals is common at two flowers
- add 4 more flowers as the exact mirror of the first ones
You can therefore describe 8 different flowers of 4 petals with height 8 unique petals only…

If the entire story isn’t based on 4 random pyramids but based on four Danzer tiles you could depending on the scale potentially describe any shapes within such packing based on 4 flowers (connections) and 8 unique petals (tiles)…

071107_Aperiodic_Series001

2007-11-07T05:30:00.000Z

Here is finally the second post on a series of tests done on 3d aperiodic pattern - here based on a Danzer tiling assembly - the other different types of outputs will be posted as a following series of post...

APERIODIC TILING (http://en.wikipedia.org/wiki/Aperiodic_tiling):
A given set of tiles, in the Euclidean plane or some other geometric setting, admits a tiling if non-overlapping copies of the tiles in the set can be fitted together to cover the entire space. A given set of tiles might admit periodic tilings, tilings that remain invariant after being shifted by a translation. (For example, a lattice of square tiles is periodic.) It is not difficult to design a set of tiles that admits non-periodic tilings as well (For example, randomly arranged tilings using a 2x2 square and 2x1 rectangle will typically be non-periodic.) An aperiodic set of tiles however, admits only non-periodic tilings, an altogether more subtle phenomenon.

DANZER TILING (http://www.cs.williams.edu/~98bcc/tiling/index.html):
There are 22 vertex configurations which occur in an infinite (global) Danzer tiling produced by inflating an initial finite patch an infinite number of times. Danzer says in his paper that there are 27 vertex configurations total, but says nothing about the characteristics of the five configurations which do not appear in a global tiling. We have identified a total of 174 vertex configurations by exhaustive search. At present we are unsure whether Danzer's remark is an error or whether some 5 of these are special in some way.

Acknowledgment: I can't pretend taking much credits in the field of aperiodic pattern in architecture as yet somehow in the direct line of people such as Daniel Bozia, Aranda/Lasch, K. Steinfeld and many others who posted on the web explicit and illustrated information on the subject which helped me to figured it out...

071017_Coral_2

2007-10-18T06:32:00.001+01:00

071014_Coral

2007-10-14T07:25:00.000+01:00

Investigations on "combinatorial processes" or some step stones on the development of three interesting discreet algorythms (Meshing+Orientation+Aperature); combined the results display some emergent qualities very near the inticacy of some Coral structures (though staying within the genotype of a certain "flat paradigm")...

071001_StochasticChairDress

2007-10-02T05:29:00.000+01:00

STOCHASTIC is synonymous with "random." The word is of Greek origin and means "pertaining to chance" (Parzen 1962, p. 7). It is used to indicate that a particular subject is seen from point of view of randomness. Stochastic is often used as counterpart of the word "deterministic," which means that random phenomena are not involved. Therefore, stochastic models are based on random trials, while deterministic models always produce the same output for a given starting condition. . (ie mathworld.wolfram.com)

070925_(n)certainties

2007-09-25T07:04:00.001+01:00

(n)certainties biotopes is the brief of the studio Francois Roche / R&Sie and Marc Fornes / theverymany are co-teaching this Fall 2007 at Columbia University:
(n)certainties is based on Robotics & bottom up protocol of growth...
http://ncertainties.wordpress.com/
(thx Francois for the kind inviation!)

Option Explicit
'Script written by Marc Fornes
'Script copyrighted by Marc Fornes / theverymany.net
'Script version 13 September 2007 16:05:03

Call Main()
Sub Main()

Dim i,j,k
Dim arrPt

Dim dblLow : dblLow = -5
Dim dblUp : dblUp = 10

Dim arrPts()
Dim n : n = 0

Call rhino.enableRedraw(False)
' ===========================
For i = 0 To 5
For j = 0 To 5
For k = 0 To 5

ReDim Preserve arrpts(n)
arrPts(n) = array(random(dblLow, dblUp),random(dblLow, dblUp),random(dblLow, k*dblUp))
Call rhino.AddPoint (arrPts(n))

If n >= 2 Then
Dim arrPtNearer : arrPtNearer = functNearestNeighbor(arrPts, n)
Dim strLine : strLine = rhino.addLine(arrPts(n), arrPtNearer)
Call Rhino.AddCone (arrPts(n), arrPtNearer, 0.2)
call rhino.addSphere (arrPts(n), 0.2)
End If

n = n + 1

Next
Next
Next
' ===========================
Call rhino.enableRedraw(True)

End Sub

Function random(low, up)
Randomize
random = (up - low) * Rnd + low
End Function

Function functNearestNeighbor (arrPts, index)

Dim k, dblDist
Dim dblDistMin : dblDistMin = 100000

For k = 0 To UBound(arrPts)

dblDist = Rhino.Distance(arrPts(index), arrPts(k))

If dblDist <> 0 And dblDist < dblDistMin Then
dblDistMin = dblDist
Dim arrPtNearest : arrPtNearest = arrPts(k)
End If

Next

functNearestNeighbor = arrPtNearest

End Function

scriptedbypurpose

2007-09-06T03:30:00.001+01:00

SCRIPTEDBYPURPOSE
Curation + installation: Marc Fornes & Skyllars Tibbits
OPENING ON FRIDAY SEPTEMBER 9TH 2007, 7PM (Private reception at 5pm)
F.U.E.L. Collection - 249 Arch Street, Philadelphia - http://www.fuelcollection.com/

www.scriptedbypurpose.net

070907_OneLineMoreOrLess

2007-09-05T03:24:00.000+01:00

Both images are generated using the exact same code, nearly the same inputs - only one line of code less for the seconde one! dramatic consequences for such little change... it sounds like the principle of chaos theory...

070824_NurbsFieldAttractor_02

2007-08-24T23:59:00.000+01:00

Interesting results for me as the latest outputs are very similar than a previous work from me - within "Play" a DRL group back in 2003; I was there experimenting with particles dynamics within 3dsMax; it took adges on a pentium 2 or 3 to calculate each frames! I left for the Christmas break for 12 days and when I came back my computer was still calulating frames...
Here within rhinoscript it is still not "Fast" but now I do understand the math behind the paramters of those 3dsMax "space warp"...

070817_NurbsField

2007-08-17T22:36:00.000+01:00

for every pt: sum of attractions = direction; sum of directions in time = path
the sum of paths = nurbsfield; fast track test...

070808_XYc (revisited)

2007-08-08T06:36:00.000+01:00

while trying to understand several cases still triggering some important issues on a recurent research about "tayloring nurbs surfaces into non-trinagulated panels", theverymany has been revisiting an old project: "XYc" (as X or Y components projected flat onto a planes normal to the surface...)

070806_Tesselation: Flat Panels On Nurbs Surface

2007-08-07T07:15:00.000+01:00

Updates an on going research within the studio on how to create a taylor ornementation pattern onto an host nurbs surface with flat panels which are not triangulated - in that option specific option the panels are connected "air tight" (within one specific condition of double curvature only).

070805_Expressionism

2007-08-06T00:49:00.001+01:00

"Expressionism is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form." (Ie wikipedia.org)

a photography is a registration of reality; its expressionist distortion with the collage of a result of an explicit process of design is a certain form of ironie on a sunday night...

070801_Aperiodic_Series000

2007-08-02T06:52:00.001+01:00

very first test or what i would qualify as a "performative computational design sketch" - yet it does look wild - which within the field of "explicit design process" is often consider as "not in control" - I accept the critic - though that one has more thoughts embeded in terms of pre-rational emergent design process that it does look like...

repetition within subdivision - can't argue yet about it as still requires more development - more should come...

Scriptedbypurpose

2007-07-24T17:32:00.000+01:00

"scriptedbypurpose" is the invited part of an exhibition at the F.U.E.L. Collection in Philadelphia in September for which Marc Fornes & theverymany got involved into by Skylar Tibits/SJET as curator on explicit and encoded processes within design.

here is the very first step, the webpage (beta) and the list of participants (to be completed): read, enjoy, and please come!

www.scriptedbypurpose.net

070720_SOM_Rhinoscripting_Class

2007-07-20T18:09:00.000+01:00

LOG : here are the results of the very first rhinoscripting class I am starting to teach within SOM (Skidmore Owings and Merill LLP) - yet still very basic array space and crude components (two arrays and three curves further) but nice introductory exercice to .VB for the second session of three hours - more to come...

070714_Utilties_GeometrySplitAsAngleAnalysis

2007-07-15T17:48:00.001+01:00

Small utility following on a previous experiment "mapping for tailoring" which would split a surface according to Angle anaylis or curvature analysis...

Update : developpment of a generic Rainbow color gradient function according to a a list of pre-set colors - the function is allocating a color gradient according to the number of colors and the order of the defined colors placed into the list...
next step is to deelopped the blending part...

RVB - PROTOCOL:
- subdivide nurbs surface either as point set or polysurface
- calibrate reference vector
- for each surface/points measure angle vector to normal

Extended option (yet not optimal in terms of speed)
- for each angle contour areas, check if subsurfaces are sharing an edge
- if yes delete both edges
- join left boundaries as "angle contour lines"
- split surface

EXTEND: (ie wikipedia)

CALIBRATION: Calibration refers to the process of determining the relation between the output (or response) of a measuring instrument and the value of the input quantity or attribute, a measurement standard. In non-specialized use, calibration is often regarded as including the process of adjusting the output or indication on a measurement instrument to agree with value of the applied standard, within a specified accuracy. (...) Calibration also can refer to judgments made by a prognosticator, for example, a weather-forecaster who states that "there is an 80% chance of rain today," if properly calibrated, will say this on precisely 80% of the days during which it rains.

070708_more...

2007-07-09T01:04:00.000+01:00

"INTERIOR DECORATION or décor is the art of decorating a room so that it is attractive, easy to use, and functions well with the existing architecture. The goal of interior decoration is to provide a certain "feel" for the room; it encompasses applying wallpaper, painting walls and other surfaces, choosing furniture and fittings, such as light fixtures, floorplans and providing other decorations for the area such as paintings, sculptures and carpets." (i.e. wikipedia)

070612_Voronoi3D

2007-06-13T21:30:00.000+01:00

Interesting - I always thought I subconsciously "avoided" to work around 3D Voronoi partly for preconception as "over trendy", partly becausenever solving any other problem for me other than beautifull intricate cellular packing - I finally had to write my own code to generate a 3D Voronoi as an under layer piece of code for an other design tool application.
The structure of the code written in rhinoscript DOESN"T REQUIRE THE NEED OF QHull data set; the code somehow "happened" to become a 3D Voronoi while originally looking at a different purpose - looking at shapes describe through some kind of wireframe in tension based on locator in 3D space - the striking similarity of the first result finally forced me to spend few more extra hours to force the code to output a more mathemically purist version of the 3D Voronoi... finally or simply once more "never say never"...

"Mathematically purist" - well within our more and more complex understanding of our contemporary society, the word "purist" can only be a very narrow and dangerous call - and I do apologize for that... my interpretation at the time was a qualificatif for simply following straight forward the steps of the Voronoi 3D geometrical description... sorry - no funky mathematical algorythm...
Though staying within rhino - a CAAD software - and write your own tool allows I believe to be in control of your code and therefore be able to manipulated away from its primarly algorythm toward a design tool - like with the 2D version for exemple...

First "delirium tremens"

070607_WorkInProgress

2007-06-08T06:41:00.000+01:00

Being currently developping in parallel multiple schemes /projects /research, I finally decided to start uploading/replacing/developping theverymany agenda in a non-linear fashion for the next few weeks - snapshots in progress as they come! - non-linearity of posts within a blog format might be a challenge though?!
Image_01: XY component array... simple as "game of mod"... "mod" being a visual basic expression... once more ordering the "host array" is the key of the pattern...

Image 02-03: "this isn't a map!" - both color scheme are generated based on a "Draft analysis tool as geometry" - the code is analysing for each surface within a polysurface its orientation compare to a given direction... then via neighbour check algorythm, the code is generating some sort of "level curves" between the zone of same orientation... in progress - yet running slowly - but more to come soon...

Image 04-05 are generated based on a personnal custom developped Voronoi 3D rhinoscripted tool - that tool is actually generating the cell via a geometrical set of operation within rhino instead of generating first the data set in QHUll and then, once sorted out, only drawing the cell by linkage of points in rhino - nothing exceptionnal and very short, the code is simply following, in a step by step process, the mathematical logic! - yet running obviously slower but though still surprisingly fast - the code is calling the rhino "boolean Intersection" method to create closed polysurfaces - that very mecanical processes allowed me to alterate the "pure" mathematical Voronoi algorythm in order to strategize on it as a design tool: here the partially troncated cells are linking each inputed points within the mass to the external enveloppe in a conic form - this speculation in progress is looking at cones of light & ventillation towards precise locations within a larger mass... -in progress-

070530_Pattern

2007-05-31T03:39:00.000+01:00

First test looking at pattern for the floor of an hotel lobby (SOM Interior); one continuous circulation space is treated as a blend of different "moments" or sub-spaces highlighted here through an overall mapping system of ceramic tiles.

THE PATTERN (ie : Wikipedia.org)

“The PATTERN is a form, template, or model (or, more abstractly, a set of rules) which can be used to make or to generate things or parts of a thing, especially if the things that are created have enough in common for the underlying pattern to be inferred, in which case the things are said to exhibit the pattern. Pattern matching is the act of checking for the presence of the constituents of a pattern. The detection of underlying patterns is called pattern recognition. The question of how different patterns emerge is accomplished through the work of the scientific field of pattern formation. Patterns are also related to repeated shapes or objects, sometimes referred to as elements of the series.

The simplest patterns are based on repetition/PERIODICITY: several copies of a single template are combined without modification.”

INCREASING THE RESOLUTION: variation criteria are illustrated through the repetition of "identical", "similar" or "self-similar" hexagonal components via changes of scale (each tile format can be recomposed by an assembly of smaller tiles having the same shape), color (allowed within “stepped ranges” in order not to maximize the number of different colors), finishes ( from glossy to mat and ruff) and orientation (the poly-directionality of the six sided shape of the hexagon chosen here for its best fit to the numerous branching direction of the project is reduced via a re-subdivision into three pairs of two sides, shaping some sort of arrow acting as a compass)

Pseudo Code:

post in progress - requires editing...

070519_Computational_Geometry

2007-05-19T18:56:00.000+01:00

COMPUTATIONAL GEOMETRY (from Wikipedia.org)
- readings while testing VRay fo rhino4 -

In computer science, computational geometry is the study of algorithms to solve problems stated in terms of geometry. Some purely geometrical problems arise out of the study of computational geometric algorithms, and the study of such problems is also considered to be part of computational geometry.

The main impetus for the development of computational geometry as a discipline was progress in computer graphics, computer-aided design and manufacturing (CAD/CAM), but many problems in computational geometry are classical in nature.

Other important applications of computational geometry include robotics (motion planning and visibility problems), geographic information systems (GIS) (geometrical location and search, route planning), integrated circuit design (IC geometry design and verification), computer-aided engineering (CAE) (programming of numerically controlled (NC) machines).

The main branches of computational geometry are:

- COMBINATORIAL COMPUTATIONAL GEOMETRY, also called algorithmic geometry, which deals with geometric objects as discrete entities. A groundlaying book in the subject by Preparata and Shamos dates the first use of the term "computational geometry" in this sense by 1975
- NUMERICAL COMPUTATIONAL GEOMETRY, also called machine geometry, computer-aided geometric design (CAGD), or geometric modeling, which deals primarily with representing real-world objects in forms suitable for computer computations in CAD /CAM systems. This branch may be seen as a further development of descriptive geometry and is often considered a branch of computer graphics and/or CAD. The term "computational geometry" in this meaning has been in use since 1971

/// COMBINATORIAL COMPUTATIONAL GEOMETRY ///

The primary goal of research in combinatorial computational geometry is to develop efficient algorithms and data structures for solving problems stated in terms of basic geometrical objects: points, line segments, polygons, polyhedra, etc.

Some of these problems seem so simple that they were not regarded as problems at all until the advent of computers. Consider, for example, the Closest pair problem:

Given n points in the plane, find the two with the smallest distance from each other.
One could compute the distances between all the pairs of points, of which there are n(n-1)/2, then pick the pair with the smallest distance. This brute-force algorithm takes O(n2) time; i.e. its execution time is proportional to the square of the number of points. A classic result in computational geometry was the formulation of an algorithm that takes O(n log n). Randomized algorithms that take O(n) expected time, as well as a deterministic algorithm that takes O(n log log n) time, have also been discovered.

For modern GIS, computer graphics, and integrated-circuit design systems routinely handling tens and hundreds of million points, the difference between O(n2) and O(n log n) can be the difference between days and seconds of computation. Hence the emphasis on computational complexity in computational geometry.

PROBLEM CLASSES
The core problems in computational geometry may be classified in different ways, according to various criteria. The following general classes may be distinguished.

STATIC PROBLEMS
In the problems of this category, some input is given and the corresponding output needs to be constructed or found. Some fundamental problems of this type are:

- Convex hull: Given a set of points, find the smallest convex polygon containing all the points.
- Line segment intersection: Find the intersections between a given set of lines.
- Delaunay triangulation: Connect a given set of points forming triangles that satisfy some fatness properties.
- Voronoi diagram: Given a set of points, partition the space according to which point is closest.
- Linear programming: Given a set of halfspaces, find the bottommost point contained in their intersection.
- Closest pair of points: Given a set of points, find the two with the smallest distance from each other.
- Euclidean shortest path: Connect two points in a Euclidean space (with polyhedral obstacles) by a shortest path.
- Polygon triangulation: Given a polygon, partition its interior by connecting its vertices.
The computational complexity for this class of problems is estimated by the time and space (computer memory) required to solve a given problem instance.

GEOMETRIC QUERY PROBLEMS
In geometric query problems, commonly known as geometric search problems, the input consists of tho parts: the invariant part (called search space) and the query part, which varies over the problem instances. The invariant part typically needs to be preprocessed, in a way that multiple queries can be answered efficiently. Sometimes, other operation, like the insertion and removal of points are also allowed. Some fundamental geometric query problems are:

- Range searching: Preprocess a set of points, in order to efficiently count the number of points inside a query region.
- Point location: Given a partitioning of the space into cells, produce a data structure that efficiently tells in which cell a query point is located.
- Nearest neighbor: Preprocess a set of points, in order to efficiently find which point is closest to a query point.
- Ray tracing: Given a set of objects in space, produce a data structure that efficiently tells which object a query ray intersects first.
The computational complexity for this class of problems is estimated by:

the time and space required to construct the data structure to be searched in
the time (and sometimes an extra space) to answer a queries.

DYNAMIC PROBLEMS
A yet another major class are the dynamic problems, in which the goal is to find an efficient algorithm for finding a solution repeatedly after each incremental modification of the search space (addition or deletion input geometric elements). Algorihms for problems of this type typically involve dynamic data structuress. Any of the computational geometric problems may be converted into a dynamic one. For example, the range searching problem may be converted into the dynamic range searching problem by providing for addition and/or deletion of the points.

The computational complexity for this class of problems is estimated by:

the time and space required to construct the data structure to be searched in
the time and space to modify the searched data structure after an incremental change in the search space
the time (and sometimes an extra space) to answer a queries.

VARIATIONS
Some problems may be treated as belonging to either of the categories, depending on the context. For example, consider the following problem.

- Point in polygon: Decide whether a point is inside or outside a given polygon.
In many applications this problem is treated as a single-shot one, i.e., belonging to the first class. For example, in many applications of computer graphics a common problem is to find which area on the screen is clicked by a mouse cursor. However in some applications the polygon in question is invariant, while the point represents a query. For example, the input polygon may represent a border of a country and a point is a position of an aircraft, and the problem is to determine whether the aircraft violated the border. Finally, in the previously mentioned example of computer graphics, in CAD applications the changing input data are often stored in dynamic data structures, which may be exploited to speed-up the point-in-polygon queries.

In some contexts of query problems there are reasonable expectations on the sequence of the queries, which may be exploited either for efficient data structures or for tighter computational complexity estimates. For example, in some cases it is important to know the worst case for the total time for the whole sequence of N queries, rather than for a single query.

/// NUMERICAL COMPUTATIONAL GEOMETRY ///

This branch is also known as GEOMETRIC MODELLING, computer-aided geometric design (CAGD), and may be often found under the keyword curves and surfaces.

Core problems are curve and surface modelling and representation.

The most important instruments here are parametric curves and parametric surfaces, such as Bezier curves, spline curves and surfaces. An important non-parametric approach is the level set method.

First (and still most important) application areas are shipbuilding, aircraft, and automotive industries. However because of modern ubiquity and power of computers even perfume bottles and shampoo dispensers are designed using techniques unheard of by shipbuilders of 1960s.

070502_rh4_tesselation_flat_panels(3)

2007-05-02T23:18:00.000+01:00

("tests render with VRay for rhino")
Some sort of panels "stability" mapping based on the number of connexions for each panels toits neighbours:
- GREEN: connexion to at least three neighbours
- YELLOW: connexion to two neighbours
- RED: connexion to one single neighbour

070427_LightHive_Update(3)

2007-04-27T23:28:00.000+01:00

LightHive - the installation of Alex Haw at the AA - is open... (i.e. www.aalog.net)
Marc Fornes will be in London to follow Alex lecture on thursday May 3rd at the AA.

- all photos are from www.aalog.net -

070419_rh4_tesselation_flat_panels(2)

2007-04-20T06:47:00.000+01:00

SUPERSTRUCTURE

A superstructure is an extension of an existing structure or baseline. (...) The word itself is a combination of super (Latin for above, in addition) and structure (also from Latin meaning to build, to heap up). (ie wikipedia.org)

Here, the routine is plotting first flat components onto the host surface to create a non air tight skin system which serves as "basline" for a secondary searching algorythm looking for intersection points as assembly nodes for a extra structure or superstructure...

Emergent properties:
1/ all the components are intersecting with one neighbour at least which allows them to be connected via that point without requiring extra complex bridging through gaps and difference between the panels of heights, angles, ect... though some sort of "continuity check" algorythm will be required in order to identify larger autonomous clusters which wouldn't be connected to the whole and therefore structurally failling...
2/ the resultant skeletal system - driven from a simple neighbourhood condition and linking all the connexion nodes with the inputed point set - is looking very similar to leafs structures... emergent biomimetism?

070417_rh4_tesselation_flat_panels

2007-04-18T04:17:00.000+01:00

FITNESS CRITERIA is probably where - within any morphogenetic or form finding processes - "subjectivity" is the most "exposed"... recent trends are pushing back towards the return of SUSTAINABILITY as the latest alibi for form: data set extracted from environmental analysis software package are directly - or yet still often via old school Excel sheets - feeding back parametric models... or facades aperature systems are designed according to optimization after to arrays of vectors simulating precise rays of light, etc... fair enough as far as sustainability is probably the most current anti-polemic marketing tool whenever politic is involved... though more worrying in certain case where it becomes an other escapism root to the designer responsability of decision making...

"PROBLEM CARING" as design tool versus "PROBLEM SOLVING" as optimization tool...

As any young practice interested in "depth-less spaces" by introducing continuity of surfaces - most often resulting in "complex shapes/forms/ornementations/etc... - I've very early on been introduced to VALUE ENGINEERING and like any constraints V.E. can be turned at your advantage in terms of design tool: planar within curved?

"In computer science, COMPUTATIONAL GEOMETRY is the study of algorithms to solve problems stated in terms of geometry." (ie Wikipedia)

Displayed is a further study in progress onto TESSELATION of double curved nurbs surfaces with FLAT components (without calling triangulation).
Here the most important design hypothesis was for the component to be non homogenous and therefore shouldn't have the same number of verticies: from 3 to 7-8... also the emergent propriety of the used algorythm is to avoid any sharp angle (cost control + tolerance issue)
also the assembly is yet mot packed - and therefore not air tight - all the the component are within a certain tolerance non overlapping.

Assemblies (step 001): within non linear algorythm - resulting here in non ordered systems - intersection points can be used as sampling test for tangencies:
IF a point is shared by the boundaries of two panels THEN they are neighbours...