Through this creative inquiry, I seek to understand
the ways in which computational simulation can create
complex, geometric compositions. Using particle
simulations, I’m investigating how one may relinquish
discrete control of compositional geometry by endowing
with these autonomous agents with varying behaviors.
These agents then react and respond to various
environmental parameters, which I manage directly.
How may one create an artistic composition by allowing
digital space to act as environmental pressure on
a computational material?
Open Source Hair Library
My direction for this project has pivoted.
Rather than having particles merely trace
complex geometries as an end, I seek to use
forces, enacting geometries, and particles
systems to reflect the complex fiber
architectures of African hair.
In the second test of the particle trails
emanating from a 3D head model, I switched
to an extra fine Prices V5 rolling ball pen,
which was thinner than my micron pen.
I also used color in a test. I found that 500
particles may be a bit heavy for 8.5 x 11in paper.
Materials constraints also need to be considered
in future tests. As I need a substrate and mark
making tools that collaborate well together.
To better understand my relationship to physical materials and formal fabrication processes, I am stepping away from 3D digital fabrication. As I diverge my attention from machine knitting towards using the pen plotter, I hope that the change in medium and fabrication process will aid me in uncovering more about my approach in generative making. Thus far in my journey of self-inquiry, I identified that I find interest in generating composition and form by engaging with the forces in a piece's environment:
I propose that I use multi-agent particle systems to create fibrous forms and complex, line compositions. I aim to cultivate visually complex compositions by attributing various behaviors to autonomous agents and endowing the agent's environment with physical properties. Leaving trails behind, the particle agents will then create records of their positions, and thus, visual arrangements will emerge as the trails characterizes how the agents are behaving in digital space.
This investigations challenges me to develop mastery in controlling particle agents, whereas I initially aim to plot more "primitive forms", then graduate onto farming more complex forms using compound techniques and agent behavior.
- Culebra 2.0
Large Format AxiDraw
(n)certainties | The battle of impermanency (opus 5.2) François Roche from R&Sie(n) with Assistant-Partner : Ezio Blasetti & Assistant : Miranda Römer
students : Jennifer Chang & Belen Gandara | Farzin Lotfi-Jam & Juan Francisco Saldarriaga | Hualin Shi & Luis Casanovas | Paraskeyi Fanou & Nathan Hoofnagle | Helen Levin & Jen Wood | Mengyi Fan & Joseph Justus
I immediately found interesting that the introduction of the chapter alluded to drawing and computation as being subcultures of architecture. The architectural practice has been dealing with the concerns of tradition versus technological interventions for quite some time now. The question of authorship has been an active motif with this narrative. However, as described in the chapter, drawing is a human exercise. Computation can only augment human intention. In many ways, in architecture, computation has helped to make sense of drawings. Whereas, sketching, design, and simulation could be done within the same act of drawing. Additionally, I believe that western architecture is consumed by hyper rationality. Understanding the marks or forms of a drawing through computation, gives the architect a data driven sense of rationality of his/her design decisions.
I find it interesting, especially as described in “300 Days of Plotting”, that one of the popular metrics of success in plotting is adding personality. That often can translate in adding spontaneity, disorder, or imperfection. I wonder if an artist’s character develops with consistent and constrained spontaneity or imperfection.
The substrate has the right to its own body.