Month: October 2016

Yugyeong Lee Looking Outwards 06

dacian-groza-israel-pavilion-venice-biennale-00017

LifeOject, an architectural project curated by Dr. Ido Bachelet, Bnaya Bauer, Arielle Blonder, Dr. Yael Eylat Van Essen, and Noy Lazarovich, is a sculptural installation exploring new spatial attitude through deriving its form from characteristics of a bird’s nest. As I was searching through ArchDaily, I was fasinated by the idea of the project of creating a “dialogue between architecture and biology.” The project experiments on integrating biological properties such as resilient quality of a bird’s nest to its materials. Through the use of natural materials and its resilient quality, it is structured to an open-ended form that is held by bending forces between floor and ceiling. In this project, computational process becomes dominant over composition and in that process, the use of randomness is key. To achieve natural, biological characteristics, random arrangement of branches was essential. Although some values had to be preset, a code was designed to assemble and knit the materials together. Because architecture is viewed with a sense of perfection through implied idea of “safety,” randomness seemed to be impossible; however, through experimentation of new materials and implementation of computational design, the artists manifested a dynamic form through introducing new materials that promised integration of open-ended fabrication to architectural practice.

copyright_laurian_ghinitoiu_israel_11_of_12

 

Kyle Lee Looking Outwards 6

Process 7 by Casey Reas

I chose to look at Casey Reas’ computational Process 7, in which various elements are randomly placed and relationships are created between each elements. Personally, I am drawn to things that sprawl, which this piece certainly does. I think its dynamic nature and irregularity oddly enough keep it from reading chaotic. Although random, I can sense an underlying pattern which keeps me looking at the piece.

Something that I failed to find were the intended dimensions and medium. I understand that it was made on the computer, but I am unclear of how this piece was intended to be viewed, on a laptop screen, printed on a poster, or even projected onto an entire wall. Personally I thought it would be impressive the bigger it was, especially how it seems as if there is a strong amount of small detail. But the biggest critique I have is the lack of information on how the piece should be viewed.

Many of Reas’ work seem to work upon similar themes. I feel like this type of work literally and broadly fills in many spaces. Although strict formal and uniform lines are more predictable, I think that Reas is trying to show that this type of work does have its applications through its unexpected visual appeal. Although seemingly uncontrolled, these variable parameters that govern a multitude of interactions creates a dynamic image.

Wallpaper

I liked the overlapping shapes and the contrast between the colors and the types of shapes used.

 

indexsketch

<!DOCTYPE html>
<html>
  <head>
    <meta charset="UTF-8">
    <title>p5.js vers 0.5.2, Edit index.html to Change This Title</title>
    <script src="http://cdnjs.cloudflare.com/ajax/libs/p5.js/0.5.2/p5.js"></script>

    <!-- Uncomment the lines below to include extra p5 libraries, or 
         use template-all or template-all-min:
    <script src="https://cdnjs.cloudflare.com/ajax/libs/p5.js/0.5.2/addons/p5.dom.js"></script>
    <script src="https://cdnjs.cloudflare.com/ajax/libs/p5.js/0.5.2/addons/p5.sound.js"></script>
    -->

    <script src="sketch.js" type="text/javascript"></script>
  </head>
  <body>
  </body>
</html>

//Arula Ratnakar
//Section C
//aratnaka@andrew.cmu.edu
//wallpaper



function setup() {
    createCanvas(640, 400);
   
}
function draw (){

    for (var x=10; x<width; x+=10) {//creates the overlapping shapes
        for (var y=10; y < height; y+=100) {
            wallpaper(x,y)
        }
    }
    
}

function wallpaper (x,y) {
	fill (134, 185, 50)
    ellipse (x, y, 50,50)
    fill (200,200,255)
    rect (x, y, x+5, x+5, 50,50)

}

Grace Cha – Looking Outwards- 06- Randomness

This was actually a student project from RISD Architecture class called: Coding Architecture in 2015, but I found it just as intriguing as any other project from a professional.  Aaron Tobey, decided to generate a manually -operated random machine with geometry.

For instance, he created a rectangle as the seed and then let the line bounce within the rectangle on a set of rule.  Numbers are generated based on where the line intersects the  edge of the rectangle.  Behind it all are a set of complex series of geometric operations and logical rules to build this random sequence.  Here he repeats this process over many boxes on the canvas. I like the way this view allows one to observe the behaviors of randomness at a distant level.  This sort of macro view of randomness reveals an interesting phenomenon–almost reveals a deep structural pattern.  Although I’m not too certain if he used actual randomness or pseudo-randomness, it is interesting to note the complexity in trying to create “randomness” (because even if it appears to be random, at a macro level, it looks sort of like a pattern).

For the time being, I’ve never thought twice about the origins of the random() function or even if it’s actually random or not, but this blog post has made me wonder what which type of random is needed for a particular situation.

Coding Architecture Course Website: http://lostritto.com/risd2015spring-seminar/

 

Project-05-Wallpaper

sketch

//Rebecca Enright
//Section A
//renright@andrew.cmu.edu
//Project-05-Wallpaper

function setup() {
    createCanvas(640,480);  
    noLoop();

}

function draw(){
	background(147,238,255);
//create loops for wallpaper
	for (var x = 100; x < width - 50; x = x + 100) {
		for (var y = 100; y < height - 50; y = y + 100) {
			Wallpaper(x,y);
		}
	}
}

function Wallpaper(x,y) {
//create center pink ellipse
    fill(255,187,245);
    ellipse(x,y,25,25);
//create top green triangle
    fill(0,255,126);
    triangle(x-30,y-25,x,y-50,x+30,y-25);
//create maroon side ellipses
    fill(196,41,158);
    ellipse(x + 50,y,25,25);
    ellipse(x - 50,y,25,25);
//create diagonal ellipses going above the green triangle
    fill(0,100,255); //creates blue color
    ellipse(x-40,y-25,10,10);
    fill(0,100,255); 
    ellipse(x+40,y-25,10,10);
    fill(220); //creates gray color
    ellipse(x-35,y-40,5,5);
    ellipse(x+35,y-40,5,5);
    fill(0);
    ellipse(x-38,y-50,2,2);
    ellipse(x+38,y-50,2,2);

    
}

I found this to be a very fun project. I had originally intended to create something more intricate, but I really enjoyed the simplicity of the picture that I sketched below, and so decided to create it instead. I also used the color-experimenting tool that the Week 1 notes linked to and found that I liked how these colors worked together.

img_6070

Rebecca Enright-Looking Outwards-05

Blur Studio located in Culver City, California creates beautiful 3D animation clips. Their images, which typically portray the unnatural, seem to somehow actually be real. They also have a video reel in the article about them, which can be seen here.

I never realized that some of the images in movies such as Thor (which was frequently displayed in the video reel), were made completely by utilizing computer graphics. The image below particularly caught my interest, though, because I found it to be very interesting to look at. I was not aware that this image and other images like it are made entirely from computer graphics. I had thought that they took videos and pictures of people and just added the effects in rather than being entirely computer-generated. I also thought that for the Thor action sequences as well, so it was a very cool thing to learn about.

This company was founded in 1995 by Tim Miller, a director, and David Stinnett, a visual effects supervisor. They presumably drew from their backgrounds in film to create this company and its productions, and they have certainly melded their prior experience with the rapid growth of technology for the duration of their company’s existence.

These 3D graphics have been storming screens everywhere, and, if made any more realistic, they have the potential to completely replace actors in films while still making a realistic-looking movie. Companies like Blur Studios are taking this cinematic revolution in stride as more and more animated clips are inserted into films to make for fantastic productions that marry the extraordinary with the mundane.

Looking Outwards 06

Silk – Weave Silk Studios (creator and project details aren’t specified)

Example Use –

This isn’t so much an art project but rather a project for other people to create their own generative art. The user uses their mouse to specify points along the grid, and the program generates smooth lines randomly from that point onwards. Although it’s not the creators own artwork, I still think it shows their creativity and artistic style, as well as the computation, randomness, and creativity required for this weeks looking outwards post. I really respect that it gives everyone the chance to try their hand at generative art, and hope that more tools like this are available!

Charlie Mo-project 5-wallpaper

sketch

function setup() {
    createCanvas(600,600);

}

function draw() {
background(51,0,17);

var xOG = 0;
var yOG = 0;
var xBetween = 105;
var yBetween = 90;
var offset = xBetween/2;

for (var y = 0; y < 9; y++){

  if(y==2||y==4||y==6||y==8){ //offsets every other two lines up
   yOG=yOG-35;
 		}	
	if (y%2==0){
		for (var x = 0; x < 7; x++){
			var py = yOG + y * yBetween;
			var px = xOG + x * xBetween;

			hexagon(px,py);//call hexagon function
		}
	}
	if (y%2==1){ //offsets every other line to the to the right
		for (var x = 0; x < 9; x++){
			var py = yOG + y * yBetween;
			var px = xOG + x * xBetween+offset;
			hexagon(px,py);
		}
  	}
}
var rxOG=-61.7;
var ryOG=70;
var rxBetween=35;
var ryBetween=145;
for (var ry = 0; ry<5; ry++){//draws a series of orange rectangles that covers parts of the hexagon 
	
	for(var rx = 0; rx<20; rx++){
		var ty = ryOG + ry * ryBetween;
		var tx = rxOG + rx * rxBetween;
		noStroke();
		fill(206,105,16);
		

		if(rx%3==0){
			rect(tx,ty,0,0);
		}
		else{
			rect(tx,ty,17.7,45);

		}

	}
}
var rrxOG=-8.9;
var rryOG=60;
var rrxBetween=105;
var rryBetween=145;
for (var rry = 0; rry<5; rry++){//draws a series of dark maroon rectangles that also covers part of the hexagon
	for(var rrx = 0; rrx<10; rrx++){
		var tty = rryOG + rry * rryBetween;
		var ttx = rrxOG + rrx * rrxBetween;
		
		fill(51,0,17);
		rect(ttx,tty,17.7,68);
	}

}	
}

function hexagon(x,y){ //hexagon function


var r = 30*PI/180;
push();
translate(x,y);
rotate(r);
noStroke();
fill(51,0,17);
polygon(0,0,70,6);//call polygon function
fill(206,105,16);
polygon(0,0,50,6);
fill(51,0,17);
polygon(0,0,30,6);
fill(135,17,58);
polygon(0,0,15,6);
pop();

}


function polygon(x, y, radius, sides) {//can produce polygons with various numbers of sides and various sizes
  var angle = TWO_PI / sides;
  beginShape();
  for (var a = 0; a < TWO_PI; a += angle) {
    var sx = x + cos(a) * radius;
    var sy = y + sin(a) * radius;
    vertex(sx, sy);
  }
  endShape(CLOSE);
}

I was inspired by the imagery of the floor pattern in the movie, “The Shining,” and wanted to recreate it. I learned a lot and this project helped me to reinforce my knowledge of loops.

 

Brian Bizier-Looking Outwards-5

http://art.bt-3d.de/fragment/frag012102b.html

I don’t think the picture is coming through properly, but there is a link, so whatever. 😛

So yeah, this was a picture from a series called “Fragment” by a fellow named Tim Borgmann. Tim appears to be one of the few artists on the internet not working in the “Lost Innocence/My Little Pony Sex and Violence Fantasy” aesthetic, for which we may all be grateful. I was first drawn to “Fragment” primarily due to the colors. I’ve always liked the contrast between black and shades of orange/yellow. I also liked the way both colors seemed to be fluids, and colliding at different angles. I can’t think of anywhere I’ve observed a similar effect, in nature or otherwise, and I think that it’s awesome that digital artists can model or create things that have no corresponding examples in reality.