A5_TERANA resubmit

A5_TERANA

A4_TERANA(2)

A4_TERANA

Reading Four

Blobs look all in the same, yet no two blobs are alike. If you ask someone to draw a blob, no one’s blob will be exactly like the others, but they overall will look the same. Topologies are disciplined mathematically and have families of sets of certain properties which are used to define a space. If you look at a topological map from New Orleans, you will be able to see a set of black contour lines on a white surface. The lines describe the different land levels. However, if you move a little over to the left, for instance in San Antonio, you will still be able to see a set of black contour lines, but they will be different, curving at different angles and there will be more lines. Topologies, just like blobs, are similar in that they all look the same, but are indeed very different. Unlike blobs, however, topologies have more of a geometric sense and can then, in return, be measured, calculated, and planned. Blobs are more likely to come out of the blue and just form. Whatever the artist or architect is thinking or feeling, a blob will form as a result of it. Another way of creating a blob would be, for example, to retrieve the already available topological map of the area and then somehow use the contours of the levels to, let us say, invert them and make a blobby space. You could then take the surface of the structure and transform it anyway you need – shifting, extruding, shearing, stretching, etc. There are endless possibilities for blobs in architecture, or for any specialty field or major profession in that manner. It would be difficult, I would say, to try to measure or calculate a blob. A blob always seems to be moving. There are convexes and concaves, which make up a blob, everywhere. Blobs in old horror movies are objects which are icky, gooey substances. Its inner is its outer and it can shrink into nothing or grow when it “eats” something in its way. A blob, therefore, is complex. It is not multiple, nor is it single.

A3_TERANA

Reading Three

When starting this reading, the first thing I recognize is it begins talking about design process and how digital software is made to assist architects design, and not use as a design tool. It was relevant to me because the last readings we have read talked about how architects use design programs as a designing tool. However, these tools are intended to increase the chance of random occurrences resulting in many more possible versions. This allows the designer to act as an editor and to apply intuitive, divergent, or aesthetic choices so as to both manipulate the model and develop additional options and subsequently select from among them. In other words, the design programs are used as part of the designing method and the designing process.
This article explains that we should use design computer programs as a design tool so as not to have the program design an architect’s project for him or her. Or else, we might as well design a computer program to totally design a building or object for us. What these programs that can design themselves take away from the architect is his or her self expression in the design; as Plato said, the object of thought was something artists and designers should then strive to recreate in its perfection (pg. 22). Or, as Deleuze says: “To think is to create. There is no other creation (pg. 23).”

Larry Sass Lecture

Larry Sass is an assistant professor in the Department of Architecture at MIT. While conducting advanced research and teaching, through working with paperless environments (totally digital), Sass has found a way to build spaces by literally putting every 3-D puzzle-like piece together you need and have, according to what the computer says you need. By making mini models, which can take two days to build after the CAD files are done, he can do the same with a 1:1 scale house, building up a house which will take two days and using only the materials he ordered to be cut. There will be no left over’s or no excess amount of materials. This makes his projects totally economical.

Reading Two

It is true that technology affects the technical, and the technical affects technique. Technology can even change the way a human thinks, therefore changing his technique in life. With technology bringing on new technology, and therefore bringing new technicalities, new techniques are developed. By the end of one’s life, he or she will have a whole collection of techniques in every aspect of his or her life, and that is what people call “wise.” The older one becomes, the wiser he or she becomes. Why is this? Not only has he or she had more experience in life and in work and in school, etc, but he or she has also come up with his or her own set of techniques to go by, day by day, and survive the day without too much struggle.
Perhaps by knowing a few handy techniques, one could come up with a single dandy technique. Therefore, one is coming up with his or her own new technology to apply to his or her own life. For example, the Eameses came up with a new technology and technique to manufacture a piece of chair furniture by combining about six different techniques: using a bicycle pump, electrical heater, plaster mold, and rubber tire membrane, and they would press the heated plywood against a plaster mold, and laminate the layers of wood. The Eameses are a perfect example of a “wise” couple who would come up with their own techniques by using whatever technologies where available to them and apply it to life by using it in their designs in furniture and architecture.

TERANA_A2

Ana Lucia Teran
ADGM – 320 – 01
Marcella del Signore
3 February 2009
Reading 1
In the Medieval times, designers were, overall, the “master builders” of their works. For example, an architect would, first of all, learn how to paint. Then, by shadowing an artist or other architect, he would learn little by little how the daily life of an architect went. By doing this, he, himself, would grow to be an architect and begin creating buildings for his town. By “creating,” I mean he would be the designer, engineer, and builder. Somewhere between those times to present time, this “master builder” role of a medieval designer was lost. The use of technology, such as four-dimensional modeling, can help present day designers gain back more and more of the earlier roles of the medieval designer.
Designing, always my first option, should start with site analysis, some precedent studies, then finally sketching on paper. When your design becomes further developed, it should then transfer digitally onto a computer designing program. This way, the designer can start thinking about set dimensions and measurements for any plan, section, and elevation drawings. If something should be changed in the design, it could be done just by a few swift movements of the mouse. There are designers out there, however, who have simply thrown out their drawing boards and have kept up with all of their designs completely digitally. There are those who claim they can design totally on the computer. They say it even helps with designing because there are certain shapes that the human mind cannot picture in the brain or put onto paper so easily. With new digital technology, what would have taken several hours to draw can now only take several minutes. It saves a lot of time, energy, and could save you some money. And if you really go into it, it could save the earth because you would not have to use so many trees by using paper, pencils, etc. There are new designing programs that can even calculate technical problems, such as where you can put tubing for water, air, electric wiring, etc. Perhaps maybe sometime soon there will be a program that will be able to calculate things that design engineers do. Once this is fully achieved, a present day designer can once again be a “master builder.”

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A1_TERANA

Link to tulane school of architecture's public folder:

ftp://ftp.arch.tulane.edu/Public/!2ndYear/ADGM320_01/A1_TERANA.pdf

Hernan Diaz Alonso: Xefirotarch

Nick Bouyelas, Johnny Rotondaro, Ana Lucia Teran

Hernan Diaz Alonso is a principle of Xefirotarch, a Los Angeles-based architecture, product and motion design firm. Hernan Diaz Alonzo is a graduate of Columbia Universities AAD program, and now teaches at SCI-arc in California. He is described as one of the most influential architects of this generation. Due to his huge success in the digital design and processing he uses with his designs. He uses a very unique and almost untouched way of envisioning his work. When doing most of his work on the computer one would think it would be precise and almost engineering orientated, but on the contrary it is actually more painterly and abstract. He gets his inspiration from cinematic movies and cartoons. He particularly likes Ridley Scotts Alien. Most of his projects resemble genetics and mutant like forms. That’s because Hernan takes a lot of his projects and starts out thinking of it as a single cell and by morphing and mutating it he gets his final form. He is simultaneously integrating mutation/morphing and movies/cartoons into the projects for a dynamic nature of thinking about architecture. Instead of simply thinking about architecture as a mere creation of buildings he applies his own art of thinking. With each project you can catch a glimpse of the genius behind Hernan Diaz Alonzo. His work is described as narrative and image-driven, hinting that he once wanted to be in a career of filmmaking. Cartoons, science fiction and the darker sides of the alternative world usually inspire Alonso’s creations. Alonso's main ideas are to create digital designs using film-animation software before transforming his works into actually structures.

One of his more recent projects is called the Sur (2005). It was a snaking-skeleton that weaves its way through the museum's courtyard with area for seating and points of cover. This masterpiece's base is composed of fiberglass and rubber while the freestanding armature is aluminum covered with latex and polyurethane-sprayed spandex. The form was generated from a single cell Alonso morphed and mutated using his film-animation software. The Sur's genesis was based on a whole series of aesthetic issues that were occurring. In the Sur, Alonso wanted to display cinematic behavior. He wanted to create a project with a film sequence rather than an architecture piece- with ideas of a singular cell, and then a series of resulting transformations, all from the same original idea. Alonso says, "with this project, you never get to see the whole project to the end, and when you walk away you get a kind of science fiction/alien character, but with a playful attitude, making it somewhat cartoonish." Sur was basically an experimental, research oriented project to see if we could produce an architecture that behaved differently from traditional architecture. Alonso's whole design process is computer based other than the fabrication. Design process and construction is 85% computer and 15% human while fabrication is the complete opposite. Sur isn't the only form of Alonso's work that appears this way. Most of his projects are skeleton-like and are image driven making it very cinematic.

Other smaller projects include the Sciarc Café (2004), the San Jose University Art Museum (2003), and the U2 Tower (2002). The café is a project where the surface and plane conditions of the program react and interact with the public. This interaction suggests visitors to return to the café. The skin does not stage the body, but rather works and cooperates with it. The purpose and use of the building become a way to express one’s posture. The museum, although a very modern and urban object, still compliments the campus’ context by following and flowing with the public landscape: it continues with the low-level public setting put under the higher-level boxes on the surroundings of the site. It ties circulation with the campus’ context and shares publicity with the campus, overlapping strands, vines, and curls like paths and open spaces. Finally, the tower, also called Arach (Gaelic for dragon), is an architectural form mimicking a mythical body. It has posture, it sees, it hears, it waits, it resides. It was built as a glass enclosing surface sheltering commercial and residential spaces and as a meditation on elevation. There are three main parts to the program, so there are three buildings. The three buildings are dynamic volumes which float over the site in Dublin, and defying gravity. The continuous volume transformation forms one condition of understanding to another.

http://www.youtube.com/watch?v=LO8yLgglpA0