Category: Section A

hschung-LookingOutwards-03

Reverberating Across the Divide: Digital Design Meets Physical Context from Madeline Gannon on Vimeo.

I looked at the project “Reverberating Across the Divide” by Madeline Gannon. I thought it was really interesting because it took a thorough route of combining digital and physical input and output. This was my first time being exposed to the topic of a chronomorphologic modeling environment. I’m especially impressed with the complexity of technology that is now possible in order for the designer to have been able to scan and create forms virtually, taking influence and depth from the real world. “A depth camera translates a physical space or object into a three-dimensional point cloud,” which allows her to create the expressive, exoskeleton-like forms that have strong influence from both the digital scans and physical features. I am a product design student, so I know a bit about 3D printing- but I didn’t know about the possibilities of scanning a physical form and then altering it in virtual reality. It excites me to think that if these technologies are possible for this whimsical project that created interesting, decoration-like forms, advancements in other areas like treating broken bones can also be made; I heard about 3D printing casts a few years ago, so I’m sure the tech has become more efficient since then.

hschung-Project-03

index

sketch

//Heidi Chung
//Section A
//hschung@andrew.cmu.edu
//Project-03

var eyeR = 0;

function setup() {
	createCanvas(640, 480);
	rectMode(CENTER);
}

function draw() {
	background(86, 155, 148);
	fill(255, 255, 0);
	noStroke();
	//restrict mouseX to 0-400
	var m = max(min(mouseX), 30);
	var size = m * 150 / 300;

	ellipse(60 + m * 190 / 200, 200, //duck beak
		size + 60, size + 50);

	fill(230, 90, 100); //pink ring
	size = 350 - mouseX;
	ellipse(300, 200,
		size, size);

	fill(86, 155, 148); //circle with same tone as background
	size = 350 - size; //eclipses red circle and beak
	ellipse(200 + m * 100 / 400, 200,
		size + 40, size + 40);

	fill(20, 190, 100); //duck head
	size = 250 - size;
	ellipse(185 + m * 150 / 900, 200,
		size - 30, size - 30);


	fill(20, 190, 100);//duck body
	ellipse(340 + m * 250 / 300, 380, 380, 250);

	fill(86, 155, 148); //circle with same tone as background
	size = 350 - size; //to eclipse duck body
	ellipse(m * 2 - 200, 400, 300, 300);

	//if (x = 201 + m * 150 / 900) { ///change to white?
		//fill(255);
	// ellipse(200 + m * 150 / 900, 200,
	// 	size, size);

	fill(eyeR, 45, 45); //black eye
	size = 100;
	ellipse(m * 2 + 80, 190,
		40, 40);

	if (mouseX > 220) {

		// fill(0); //left eye
		// ellipse(160, 240, 40, 40);

		// fill(0); //right eye
		// ellipse(480, 240, 40, 40);
	
		// fill(255, 220, 0); //darker part of beak
		// ellipse(width / 2, height / 2, 140, 100);

		// fill(255, 255, 0); //brighter part of beak
		// ellipse(width / 2, height / 2 - 20, 140, 100);
		// ///

		var faceX = mouseX - 240; 

		fill(0); //left eye
		ellipse(faceX - 120, 240, 40, 40);

		fill(0); //right eye
		ellipse(faceX + 20, 240, 40, 40);

		fill(255, 220, 0); //darker part of beak
		ellipse(faceX - 50, 340, 140, 100);

		fill(255, 255, 0); //brighter part of beak
		ellipse(faceX - 50, 310, 140, 100);
	}

	if (mouseX > 300) {
		fill(230, 90, 100); //left pink cheek
		ellipse(mouseX - 400, mouseY, 60, 60);
		fill(230, 90, 100); //right pink cheek
		ellipse(mouseX - 180, mouseY, 60, 60);

	}

	// var faceX = mouseX-width/2;
	// ellipse(faceX, height/2, 10, 10);

}

I started off by drawing some shapes in colors I thought went well together. I ended up drawing a duck, and I wanted to transform its form to a something different, and I decided to change the position/view of the duck’s face.
(The duck face is manipulated by the mouse and it slides onto the duck’s head. I’m not sure why it’s not working in this embed, but it works in the browser.. it stays abstract, but it’s supposed to create the duck face looking to the right.)

mmirho – Looking outwards 03 – Computational Fabrication

This project is called the “Silk Pavillion”.

It was constructed, frame wise, with a CNC mill, and then spun using a threading device based off an algorithm. I don’t know the algorithm type that generated the organization of the thread, but I do know it’s designed to create an even spread and to form even, circular holes in the structure of each frame.

I think this is an incredible use of parametric design because it uses an extremely nature-based construction process. The designers used 6500 silkworms to construct the finer layer of the pavilion and created something incredible.

I think the artist’s sensibilities were based off two things: The algorithm, and nature. Neither can be fully predicted with the human mind and so the artist understood fully that the final product would be completely unpredictable to every fine detail. He did understand the type of structure that would result, as well as the texture and feel it would create because he still designed the overall structure.

I think sometimes, parametric design lacks a natural, human element to it, but this project incorporated nature in such a direct way that it avoided that common pitfall.

 

HaeWanPark-LookingOutwards-3

3D Print Gown by Michael Schmidt and Francis Bitonti, 2013

3D printed gown by Michael Schmidt and Francis Bitonti, modeled by Dita Von Teese

This is the first fully 3D printed gown in the world. This gown is designed by Michael Schmidt and 3D modeled by Francis Bitonti. Michael Schmidt was inspired by the well-known Fibonacci Golden Ratio Sequence which mathematically measures the ratio to create the ideals of beauty. It has been proven in many cases, especially in nature. He applied this golden ratio of beauty to create a beautiful and sensual form of a gown. This gown was 3D printed in Nylon and consists of 17 pieces that can be assembled. Its customized design made a perfect fit to a model’s body.

In my opinion, this project displays the future of clothing. It could be the very beginning step of the way manufacture garments in our future. So, if clothing can be printed, there would be more variety of design methods and customized to make a perfect fit for specific customers. I really admire their effort and attempt to create clothes in 3D print that could be a future method to produce our clothes, and also still to keep aesthetic aspects of clothing.

Dita Von Teese Flaunts Fibonacci-Inspired, 3-D Printed Gown

 

 

heeseoc-LookingOutwards-03

http://matsysdesign.com/

I really enjoyed looking at Andrew Kudless’ P-series. They immediately grabbed my attention as I browsed through the options because they have some seemingly organic qualities to their form, but are definitely generated digitally. I wanted to figure out the process and the mechanism behind it. The artist first started off with exploring some “evocative” texture on his computer, generating a cloud of points that are then turned into constraints that would hold the elasticity in the fabric which he used as the cover material. For his first piece in 2006, called the P-Wall, he used plaster poured into the mould with the fabric expanding under the weight of the plaster. For the next piece in the series, he explores more of the self-organization of material under force, leaving the fabric sag, expand, and wrinkle under pressure. He also has created something named the P-ball, which is a 3D printed concrete prototype. It is super interesting how it is possible to experiment with different materials with digitally created forms.

 

hdw – Looking Outwards 3

Manfred Mohr is a generative artist who was first making generative art in the 1960’s. He was one of the earliest adopters of this field.

“Artificia II ” is a artwork based on the book Artificia he published in 1969. The artwork itself came out in 2012. He was inspired by the rhythm of the work and felt it was complimentary to the book he wrote.

The algorithm is made up of segmented lines that cross and change directions on a 11 and 15 dimension cute. The colors are calculated based on the x-vertext. The baseline algorithm gives the artwork its rhythm. You can read more about it here.

Some works in his collection. You can view the rest here.

heeseoc-project-03-DynamicDrawing

heeseoc-dynamic

//Steph Chun
//15-104 section #A
//heeseoc@andrew.cmu.edu
//Project-03

	var dir = 1;
	var speed = 4;
	var diam = 0;
	var dot = 3;
	var o = 1;
	var oo = 1;
	var angle = 0;
	var angleo = 0;


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

function draw() {
	noStroke(); 

	var center = 135;
	var c = constrain(mouseX, -150, center);


	//background//
	background (255-c*1.5,255-c*1.5,255-c*1.5);


	//hand right//
	fill (227,200,113);
	quad (-c+615,233,-c+681,299,-c+615,365,-c+549,299);

	fill (212,180,75);
	quad (-c+690,299,-c+640,249,-c+590,299,-c+640,349);

	fill (150,132,65);
	triangle (-c+610,299,-c+660,249,-c+660,349);

	fill (227,200,113);
	triangle (-c+614.5,233,-c+690,250,-c+680,299);

	fill (241,216,141);
	rect (-c+640,250,320,75);
	triangle (-c+640,250,-c+640,325,-c+600,250);
	rect (-c+490,250,130,30);
	triangle (-c+490,250,-c+490,280,-c+455,250);

	triangle (-c+725,325,-c+695,325,-c+695,355);
	rect (-c+590,325,105,30);
	triangle (-c+590,325,-c+590,355,-c+575,325);

	//fingernails right//
	fill (255,238,189);
	rect(-c+470,250,30,13);
	triangle (-c+470,250,-c+470,263,-c+455,250);


	//rotating dots//
	if (mouseX > 100) {
	push();
    translate(320,250);
    rotate(radians(angle));
    angle = angle + 10;
    fill(255);
    ellipse(-o, o, dot, dot);
    pop();
    o = o + 0.3;
	}

	if (mouseX > 80) {
	push();
    translate(320,250);
    rotate(radians(angleo));
    angleo = angleo + 3;
    fill(255);
    ellipse(-oo, oo, dot, dot);
    pop();
    oo = oo + 0.1;
	}

	if (mouseX > 120) {
	push();
    translate(320,250);
    rotate(radians(-angleo));
    angleo = angleo + 3;
    fill(255);
    ellipse(-oo-50, oo+50, dot, dot);
    pop();
    oo = oo + 0.1;
	}

	if (mouseX < 80) {
		o = 0;
		oo = 0;
	}

	//ripples//
	stroke (255);
	noFill();
	ellipse (320,250,diam/3,diam);
	ellipse (320,250,diam/4.5,diam/1.5);

	diam += dir * speed;
    if (mouseX < 135) {
        diam = 0;
	}


	noStroke();

	//hand left//
	fill (167,157,203);
	quad (c+25,233,c+91,299,c+25,365,c-41,299);

	fill (141,129,183);
	quad (c+50,299,c,249,c-50,299,c,349);

	fill (115,107,141);
	triangle (c+30,299,c-20,249,c-20,349);

	fill (167,157,203);
	triangle (c+25.5,233,c-50,250,c-40,299);

	fill (186,178,217);
	rect (c-320,250,320,75);
	triangle (c,250,c,325,c+40,250);
	rect (c+20,250,130,30);
	triangle (c+150,250,c+150,280,c+185,250);

	triangle (c-85,325,c-55,325,c-55,355);
	rect (c-55,325,105,30);
	triangle (c+50,325,c+50,355,c+65,325);

	//fingernails left//
	fill (216,209,241);
	rect(c+140,250,30,13);
	triangle (c+170,250,c+170,263,c+185,250);

	
 }

My original idea was to make the touch convey a sense of affection between the two people, but I changed it later on so that with the interactions, it looks more like a reflection (yet the viewers may not know at their first sight which is the twist I intended to give to this piece). Getting one hand to exactly reflect the other hand was the most difficult part for me, because I calculated all the coordinating numbers since I didn’t know how to take a combination of objects and just flip it over.

Hannahk2-Project03-DynamicDrawing

sketch

//Hannah Kim
//Section A
//hannahk2@andrew.cmu.edu
//Assignment-01

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

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

//background color change
//as mouse moves down, color changes from blue 
//to lighter blue
    var Rc = map(mouseY, 0, height, 200, 260);
    var Gc = map(mouseY, 0, height, 240, 255);
    var Bc = map(mouseY, 0, height, 250, 255);

    noStroke();
    fill(Rc, Gc, Bc);
    rect(0, 0, 600, 600);

//circle background color change
//as mouse moves down, color changes from white
//to blue
    var circSize =map(mouseY, 0, height, 0, 400);
    var Rc1 = map(mouseY, 0, height, 260, 200);
    var Gc1 = map(mouseY, 0, height, 255, 240);
    var Bc1 = map(mouseY, 0, height, 255, 250);
noStroke();
fill(Rc1, Gc1, Bc1);
ellipseMode(CENTER);
ellipse(294, 242, circSize, circSize);

//top chopstick
var topChop = map(mouseY, 0, 400, 92, 300);
stroke(198, 58, 61);
strokeWeight(9);
line(27, 60, 291, topChop);

//noodle 1
var nood1 = map(mouseY, 0, 400, 76, 310);
stroke(221, 215, 153);
strokeWeight(6);
line(240, nood1, 240, 311);

//noodle2
var nood2 = map(mouseY, 0, 400, 76, 312);
stroke(221, 215, 153);
strokeWeight(6);
line(252, nood1, 253, 313);

//noodle3
var nood3 = map(mouseY, 0, 400, 76, 312);
stroke(221, 215, 153);
strokeWeight(6);
line(266, nood3, 266, 316);

//bottom chopstick
var bottomChop = map(mouseY, 0, 400, 107, 310);
stroke(198, 58, 61);
strokeWeight(9);
line(5, 111, 292, bottomChop);

noStroke();
//draw ramen cup
fill (233, 231, 226);
rect (164, 261, 272, 8);
quad (175, 275, 210, 560, 386, 561, 428, 277);
noStroke();
arc(297, 561, 176, 10, TWO_PI, PI);

//draw top row of yellow marks
fill(194, 198, 89);
rect(182, 300, 3, 24);
rect(188, 300, 3, 24);
rect(194, 300, 3, 24);
rect(200, 301, 3, 24);
rect(207, 301, 3, 24);
rect(214, 302, 3, 24);
rect(222, 302, 3, 24);
rect(230, 302, 3, 24);
rect(239, 303, 3, 24);
rect(248, 303, 3, 24);
rect(257, 303, 3, 24);
rect(267, 304, 3, 25);
rect(277, 304, 3, 25);
rect(287, 304, 3, 25);
rect(297, 304, 3, 25);
rect(307, 304, 3, 25);
rect(317, 303, 3, 25);
rect(326, 303, 3, 24);
rect(335, 303, 3, 24);
rect(344, 303, 3, 24);
rect(352, 303, 3, 24);
rect(361, 303, 3, 24);
rect(369, 303, 3, 24);
rect(377, 303, 3, 24);
rect(385, 302, 3, 24);
rect(392, 302, 3, 24);
rect(399, 301, 3, 24);
rect(405, 300, 3, 24);
rect(411, 300, 3, 24);
rect(417, 300, 3, 24);

//draw bottom row of yellow marks
fill(194, 198, 89);
rect(207, 501, 3, 24);
rect(214, 502, 3, 24);
rect(222, 502, 3, 24);
rect(230, 502, 3, 24);
rect(239, 503, 3, 24);
rect(248, 503, 3, 24);
rect(257, 503, 3, 24);
rect(267, 504, 3, 25);
rect(277, 504, 3, 25);
rect(287, 504, 3, 25);
rect(297, 504, 3, 25);
rect(307, 504, 3, 25);
rect(317, 503, 3, 25);
rect(326, 503, 3, 24);
rect(335, 503, 3, 24);
rect(344, 503, 3, 24);
rect(352, 503, 3, 24);
rect(361, 503, 3, 24);
rect(369, 503, 3, 24);
rect(377, 503, 3, 24);
rect(385, 502, 3, 24);

//draw red background for middle logo 
fill(198, 58, 61);
rect(272, 354, 79, 58);
arc(346, 374, 50, 40, PI+QUARTER_PI, HALF_PI);
ellipseMode(CENTER);
ellipse(263, 383, 59, 63);
quad(197, 408, 204, 462, 392, 465, 398, 408);
ellipse(248, 437, 59, 63);
ellipse(278, 437, 59, 63);

//draw text for cup
textSize(50);
textStyle(BOLD);
fill(255, 255, 255);
text("CUP", 248, 400);

//draw text for noodles
textSize(38);
textStyle(BOLD);
fill(255, 255, 255);
text("NOODLES", 203, 450);

//draw nissin logo with text
fill(177, 27, 38);
arc(208, 357, 36, 38, PI, TWO_PI);
textSize(8);
fill(255, 255, 255);
text("NISSIN", 195, 354);

//bottom red line
strokeWeight(1);
stroke(198, 58, 61);
line(210, 535, 386, 536);

//top red line
line(175, 289, 428, 291);

//white shine on cup
fill(255, 255, 255, 90);
noStroke();
quad(373, 272, 348, 568, 375, 564, 407, 272);
}

 

This project was pretty fun for me, though I did not know where to start with the commands and which commands to choose to make my code do what I wanted it to do. I enjoyed creating the cup of noodles especially, since I always eat cup noodles.

jknip-SectionA-LookingOutwards-03

MIT Media Lab Silk Pavilion

“Silk Pavilion” by Mediated Matter / MIT Media Lab (2013)

Silk Pavilion was an architectural experiment conducted with 6,500 live silkworms. Mediated Matter led by Neri Oxman, studied productivity in nature in conjunction with computerized efficiency in fabrication. I admire how the group found an intersection across the artificial and natural, and was able to effectively apply fabrication understanding across such a large scaled dome installation. What’s also really admirable is how Oxman decided to develop custom CAD tools for the project, specifying specific thread properties of the pavilion that couldn’t have been altered elsewhere.

Using an algorithm inspired by the silkworm’s natural ability to create cocoons out of thread, the system assigns single threads across patches with varying density levels. Silkworms were then physically deployed as a real-time “3D printer”. The final form was not fully controlled by the creators, as the texture and features of the dome were difficult to predict due to the emergent behavior of the worms. Through deep understanding of silkworms as a medium, the group learned how to utilize them as a sophisticated, multi-axis printing medium.

SILK PAVILION from Mediated Matter Group on Vimeo.

https://www.media.mit.edu/projects/silk-pavilion/overview/

https://vimeo.com/67177328

akluk – Section A – Looking outwards-03

The project is called Rocaille, by Benjamin Dillenburger. No date was specified in the project.

His project seems to be reminiscent of shapes and patterns similar to shells. What I admire about this is the amount of detail in this project. Each surface is created with multiple small twigs of plastic. While I am not sure what algorithms are used to create this piece of artwork, but it seems to remind me fractals and creating smooth surfaces with numerous discrete pieces. The artist seems to have a style for creating very curvy and smooth structures through mathematical and calculated means. We often do not think about art as a very mathematical and calculated way, but this is equally beautiful and logical.

Rocailles