Yugyeong Lee Looking Outwards 02

a_11

The Protohouse project developed by a design group known as Softkill Design is a 3D printed prototype of a conceptual house. Through the use of computer algorithm that imitates bone growth to define where the architecture requires most structure, this high-resolution project made out of “fibrous web” organizes its material to its finest detail allowing cost and material efficient result. The complexity of this prototype is possible from the integration of algorithm in its technology. The Protohouse also utilize high technology such as Selective Laser Sintering Technology that uses laser to form solid by heat or pressure without melting to a liquid form. By manipulating those technologies, the creator manifests experimentation of future architecture as this project reflects how architects can create not only a cost and material efficient but also a structurally effective architecture by integrating algorithm in the process. Also, the prototype is light-weighted and therefore portable allowing it to be fabricated into parts, seven in this case, and assembled on site.
a_5

http://www.archdaily.com/335887/3-d-printing-protohouse-1-0-and-protohouse-2-0-softkill-design

Looking Outwards – 02

Glenn Marshall’s Emergent Art

This mesmerizing work is created by a honors-winning digital artist, though maybe not so well-known, Glenn Marshall. Marshall started off in the 90s as a 3D animation artist, where he relied heavily on commercial software like Cinema 4D to create his ideal visualization. However, unsatisfied with the limitations that come with off-the-shelf software, Marshall started using Processing to create unique code artworks, until he found an even better tool: combining Python SDK and Cinema 4D. He has been utilizing such a powerful tool to create unique algorithms and splendid visual effects.

His work immediately grabbed my attention because of its almost philosophical appearance. They resemble the perfect designs done by nature, like the golden ratio that’s present in the veins of a leaf or on the wings of a butterfly, despite the fact that these works are completely artificial.

The work that is shown above, Star Girl, as well as another work shown below, Particle Man, was created by tracing the trajectory of particles colliding onto a 3D sculpted surface. It is as much mathematical and scientific, as it is artistic.

This is what I would call ‘emergent art’, in that I have no preconceptions of the final result, but rather rely on the unexpected results of a complicated simulation system using natural forces to create the final piece.

-Glenn Marshall

Additional Links

GraceSimmons-LookingOutwards-02

A generative art piece I really like is Dreamline by Leonardo Solaas, shown below.

dreamlines

Dreamline was open to the public from 2005 until a few years ago; users could enter words from dreams/of dreams they would like to have, and then, the system searched the Web for related images and conjured them into an ambiguous painting. The work was developed in both Java and PHP; PHP script made the Google Image search from the word input, and Java received the images and placed them. No complete images are shown – the work is made up of 1500 pixels in constant motion.

I think this work is a strong representation of Solaa’s fascination with the subconscious: it generates an impermanent, moving image (just like a dream). I admire that he was able to harness minimal user interaction (entering words) to still create something vividly complex and individual. He was probably inspired by other systems that follow rules, but still maintain flexibility, like the drawing machines of Jean Tinguely.

I do wish that he would reactivate the art piece because he said he had to stop the project due to outdated technology. I also believe this work would have benefited form the ability to save individual images and categorize them in some way, though this deters slightly from the transient element.

http://www.digicult.it/digimag/issue-051/towards-the-edge-of-chaos-an-interview-with-leonardo-solaas/
http://solaas.com.ar/dreamlines/about.htm

Looking Outwards 2: Linear Perspective

reas_linear_perspective_0 reas_linear_perspective_1

Linear Perspective 2015 Code, digital images, computer, screen 1080 x 1920 pixels — Linear Perspective
2015
Code, digital images, computer, screen
1080 x 1920 pixels

Casey Reas’ “Linear Perspective” connects code, art, and media into a generative piece that invites viewers to become more aware about their values and perceptions of the world around them. Reas incorporates primary editorial images in the New York Times from 2015 into a vortex-like projection, with each image beginning its projection from a single point and expanding out to fuller detail as the image moves to the right. These images represent some of the most salient and influential images in our world — these are the images that dictate how we converse with others, what we choose to believe as important information, and ultimately serving as an indication of what society values.

This piece stands out because of its ability to combine code with basic artistic principles — abstraction, line, direction, and of course, linear perspective. This combination of computation, artistic elements, and imagery from current events make it easier for viewers to find ways to interpret the piece in the context of their own lives.

Janet Lee – Looking Outwards – 02

Interactive experiences at the human scale: Making CenterStage with Andrew Bell and Lutz Vogel

Samsung CenterStage is an interactive studio that displays 64 appliance on a screen that is scaled according to the human size. It was created by Andrew Bell and Lutz Vogel and created in March 2015. What I admire about this work is that it allows buyers to virtually interact and experience what the appliance would be like as if it is right in front of you. This project is admiring because people can see the different kinds of appliances at once and they can also virtually try them out through a screen.The radial interface also made it to the point where it is easy to use and navigate. The algorithm of this project is user interaction and experience. The creators artistic sensibilities are showed in how they describe the fluorescent smell of laundry by displaying flower petals swirling around the laundry machine and draw the effects of each appliances in a symbolic way as if the users can experience what the appliances can do.

GraceCha-LookingOutwards-2

‘Microscopic Leaps’ [2015]

(Commissioned by Pentagram based off of Nobel Laureate Eric Betzig’s work on the development of fluorescence microscopy)

Microscopic Leaps is a three-dimensional, animated view of the microscopic world that reveal complex cellular processes and forms. It records the captivating process using artistically rendered 3d stimulations coupled with mysterious sounds. The mixture of organic musical beats with the systemically changing motions of cells is absolutely stunning (and a little creepy).

This particular piece has two distinctive ‘algorithms’. The first one is obviously the computer generated stimulations created from real life movements of cellular processes and the second one is the rythmic music. The music resembles a heartbeat and matches perfectly with the way the graphics moves like a heartbeat. Pretty cool.

Screen Shot 2016-09-05 at 10.19.48 PM — 3D stimulation work that inspired the creation of ‘Microscopic Leaps’ .

Microscopic Leaps was inspired by real rapid movements of a single cell protozoan T. thermophila and other cellular processes, but recreates it using more calming, approachable tones (pastel green, warm grey, liquid-like forms). Prior real life stimulations (as shown above) were outdated in that they used very extreme bold colors with rigid movements; However Microscopic Leaps creates a certain mood of mystery with its use of unconventional colors and rhythmic sounds.

Illustration from the Stimulation

Screen Shot 2016-09-05 at 10.10.11 PM — Illustration captures from video stimulation

TamiTedesco-LookingOutwards-01

Recently, the award-winning production company Method Design was hired by the AICP (Association of Independent Commercial Producers) to create a promotional reel which would demonstrate the technological and visual capabilities of the organizations sponsoring this year’s awards program. The video utilizes motion capture software and sophisticated rendering programs to create a montage of dancing humanoid figures.

The stunningly realistic but ultimately abstract and incongrous textures and effects used in this video contrast with the human forms to create a fun, surreal experience that bends the average person’s visual understanding. In addition, by making references to popular culture, the video reaches the viewer on a uniquely personal level, maximizing its overall impact. While the graphics do occasionally strain the viewer, this video is ultimately a striking example of the quality of CG in the present, and an indicator of CG’s potential to grow even more sophisticated in the future.

Yugyeong Lee Looking Outwards-01

I came across this project called “Arabesque Wall,” by Benjamin Dillenburger and Micahel Hansmeyer in collaboration with Design Exchange. It is a grand 3D printed architectural sandstone wall standing 10 feet tall with intricate details of the Baroque period. Forming almost 200 million surfaces, the details of this architecture is created at a scale of millimeters. The complexity generated by overlapping curves based on geometric rule imply luxury. By utilizing “algorithms and computation to generate architectural form,” the designers spent four months of iterative computational design process of producing details impossible for one to achieve with bare hand.

7_design_development

As modernist design articulate art of simplicity straying away from the richness of details and ornaments of the past, this project paves way for art/architecture to produce intricacy within a design that no history could afford. Integration of digital fabrication and computational design points towards the future of celebrating overwhelming and flourishing details. Although this project is closer to a sculpture than an architecture, it could lead to a generation of architecture fabricated entirely of digital fabrication machine such as a 3D printer. However, just as technology contributes both advantage and disadvantage, design itself may be dehumanized with less “touch” of hand in an art work. But because of the possibility of creating projects such as the “Arabesque Wall” with relative ease, it also opens an opportunity for artists to explore limitless complexity in design. Arabesque Wall - detail

xiangqil-Project-01-Face

sketchThis what I look like before I got the haircut, with signature round face and round eyes. I still found some problems to create suitable round-corner rectangular.

/*Liu Xiangqi Section A xiangqil@andrew.cmu.edu Assignment-01*/
function setup() {
    createCanvas(300, 300);
   
}

function draw() {
  fill(246,229,200);
  noStroke();
  ellipse(150,150,200,200);
  
  fill(246,229,200);
  ellipse(50,150,50,75);
  
  fill(246,229,200);
  ellipse(250,150,50,75);
  
  fill(0,0,0);
  ellipse(100,150,25,25);
  
  fill(0,0,0);
  ellipse(200,150,25,25);
  
  noFill();
  stroke(251,112,64);
  strokeWeight(8);
  curve(100,180,140,200,160,200,200,180);
 
  fill(0,0,0);
  noStroke();
  rect(50,50,200,80,80,80,0,0);
  
  fill(0,0,0);
  ellipse(150,40,50,50);
  
  fill(246,229,200);
  triangle(80,130,150,90,220,130);
  
}

rnayyar-looking outwards 01

https://piksel.no/~gif/index.html

https://drive.google.com/a/andrew.cmu.edu/file/d/0B0gDXj4XNhe3LWFybnVOcVhSR0k/view?usp=drivesdk

This is Gisle Frøyland, a Norwegian woman proficient in computer science and visual arts. While I was browsing for “cool female contemporary artists”, I stumbled upon her work. Weirdly enough, I was actually in Norway over the summer and I saw an installation of hers in the KODEBERGEN museum of contemporary and Norwegian art. On the side of the installation was a table where there was an assortment of hats. Each hat had a specific design pasted on top of it and the viewer was to select a hat and put it on. Once the viewer had the hat on, they were instructed to stand in the middle of a black carpet above which there was a downward facing camera. The camera would detect the specific design on the hat and put on a personalized light show in front of the viewer. I actually fell in love with that installation and bonded with some strangers over it which was really enjoyable. Frøyland’s simple but interactive piece was engaging, curious, and quite entertaining. Other viewers and I were excitedly trading hats and laughing with each other despite the language barrier. Ideally, the only complaints I really had with the piece were that the hats were a little clumsy looking but I was blown away by the recognition and reaction of the camera and lights. It’s as if an “if/else” statement could be implemented in real life. I actually aspire to make art that involves viewer interaction as I think curiosity and play are key to exploring one’s creative nature. People like to think that they are separate from animals in that they’re sophisticated and knowledgable and communicate differently but when it comes down to flashing lights and shiny things, we all get roped in. There was something very primal about how this installation “trapped” us viewers through its dazzling and light-hearted appeal.