MATRIX

still to photograph the hard copy and upload this afternoon

aerial photo showing my site in relation to adjacent buildings, roads and shoreline

quick photoshop sketch of my building on top of the existing office building showing how it would cantilever over the side of the "host" building while sharing some of the same intreior resources (elevator, stairs, services etc)

FLEXIBLE PATH CONTROLS

some notes from a blog I found defining the particular differences in the flexible path control settings, I used these settings and fiddled around with them to come up with a subtle movement that my fethered screen would use to drift and move slightly in the wind in SL:

How to use "Flexible Path" controls

Rob Figtree

Registered User

Join date: 13 Jun 2006

Posts: 14

08-06-2008 14:09

I've been trying to find a good (or any) documentation or tutorials on how
to use the "Flexibility Path" settings in prims. After several hours of looking for info.
and playing with the controls I really don't know much more than I did before.

I did find this in a post on the forums:
Flexible Details
Here's more of an explanation behind what each Flexible Path setting does:
• Softness - Take a hard guess... or a soft one. Softness goes from 0 to 3 in
whole numbers. Multiply what's entered here by a power of 2 to find out how
 many segments get simulated. So, on a long pole, a softness of 0 looks like a
car antenna, and a softness of 3 would have 8 segments and resembles a wet noodle.
• Tension - Think of this as a flexible object's "backbone posture". Setting it to
0.0 will make it droop like a limp rope, while 10.0 is more akin to a walking
 stick's firmness.
• Drag - The air friction affecting a flexible object. An easy way to understand
 it is: if it's set low, an object will wiggle wildly, but increasing it towards the
maximum of 10.0 makes an object almost look like it's in slow motion, swaying
 gently.
• Gravity - Since what goes up must come down, this affects the amount of
downward force. Boost it up to 10.0, one click at a time, and watch your poor
prim's parts sink. For extra enjoyment, you can lower this into negative
numbers for alien effects--defy gravity!
• Wind - The wind is everywhere in Second Life. Increasing this number
 emphasizes how much your flexible object is affected by the wind's strength
 and direction. For example, how a single page of paper taped to a railing
 blows compared to an entire book.

So at least now, I have an idea how the settings work. However, trying
 to use the settings either gave me no results or did something that I couldn't
 really figure out at all.

Is there a good source somewhere that would walk through the flexible
objects controls step by step so it is possible to actually see them operating?

IMAGE RESEARCH - textures etc that i'm looking at to inform my design

looking at the structure of feathers

  

light through trees

skeleton leaf

 
 
 

SGAE office building i came accross

  

SGAE Central Office Designed by Spanish Ensamble Studio, the SGAE Central office in Santiago de Compostela uses stacked stone slabs on an exterior wall to create a space with filtered light. The stone wall be seen as a monumental sculpture, is made of Mondariz Grey stone arranged in an irregular grouping of size and geometry where selected from quary overage and placed in strips to all south light to break inside the covered passage. The structure consists of three walls each running the length of the property and each of varied construction, material and scale. The stone wall faces the garden space, then an interior wall made of CDs and a translucent wall facing the street defines the interior boundary, which is distributed in four areas and provides 32,000 sq. ft. (3,000 sq. m.) of usable space. The interior CD wall is a flat plane placed between the outer curved elements, and a solid element between two elements of light. Santiago de Compostela, Galicia, Spain 11/12/09

light  coming through the stone elements

 
 

feather texture i ended up using to create the screen, i liked it because it was quite abstract and wasn't too much of a n obvious reference to nature (tree leaves, feathers etc)

MY PREVIOUS BLOG LINKS

http://eken017design2.blogspot.com/ 
(Semester 2 - 
GIFTING - digital architecture)


http://eken017design2-gifting.blogspot.com/ 
(Semester 2 - 
WAKING - augmenting reality, 
SUSTAINING - laser cutting, 
GATHERING - animation/drawing) 



http://archdrc102eken017.blogspot.com/ 
(Semester 1 digital architecural media)

SCREEN SHOTS

CONCEPTUAL RESEARCH

Nick Gelpi: Unflat Pavilion/Feather-Weight House

Unflat Pavilion/Feather-Weight House image provided by Nick Gelpi Studio

Unflat Pavilion/Feather-Weight House by Nick Gelpi, Lecturer, Department of Architecture
Location: (Building 14 Lawn)
May 7 + 8, 2011

A freestanding pavilion, created by flexing two dimensions into three, this house deploys a fabrication system used to create a membrane, which is simultaneously structural, functional and representational in a single act.  Entirely constructed of laminated plywood, an open pattern is cut into flat plywood stock which transforms into three-dimensional architectural features as flat sheets are bent and unfurl into skylights, columns, buttresses, windows and vents, in the act of becoming UNFLAT.

This project demonstrates an architectural role reversal across its surface.  On one elevation, a soft skin is hung on a structural frame.  On the other elevation, the skin becomes structural, lifting the frame from the ground, inverting the normative structural hierarchy in an act of tectonic confusion.

The project uses a promising method of fabrication with flexures, as many hundreds of parts become discreet, yet remain continuously attached to the sheet, eliminating the need for fasteners.  This structure isn’t hard, heavy, bulletproof, or monumental, it is modest, soft, cheap, low-tech, and full of holes.

Inside the house, the walls appear porous and lightweight, its cavity illuminated with flexible LED strips attached to interior of each sheet.  (http://arts.mit.edu/fast/unflat-pavilion-nick-gelpi/)

Art Installations in the Shape of Fluid Pigeon Feathers by Kate MccGwire

Posted by admin in Architecture Inspiration

Kate MccGwire is an artist from London whose statement is “I gather, collate, re-use, layer, peel, burn, reveal, locate, question, duplicate, play and photograph.” For today we decided to showcase some of her art installations that feature fluid concepts achieved with the help of thousands of pigeon feathers. According to Environmental Graffiti, even though the artist was initially repelled by the idea of pigeons feathers in her works, MccGwire  “obsessively started to collect” her feathers, “playing and experimenting with ways of assembling them, with no definite idea of what was going to evolve.” The overall result is a series of intriguing works that challenge the mind of the viewer, while in the same time having a strong visual impact. As the artist herself asserts, her work “has a consistent ‘otherness’ to it that places it beyond our experience of the world, poised on a threshold between the parameters that define everyday reality“. How would you describe these art installations?

http://www.mediaarchitecture.org/category/projects/page/5/

Realities United created for the ILUMA building in Singapore RU a light and media facade, which had to be effective both during day and night. The project is part of a new development (Urban Entertainment Center) designed by WOHA architects1. In various ways this concept blurs boundaries as it actively merges the concept of a media screen with an ornamental architectural screen filtering air and light and as it blends abstract futuristic shapes with a 1970’s Vegas style.

http://www.mediaarchitecture.org/category/projects/page/5/

Nordwesthaus on Lake Constance, Austria

Folded Space, São Paulo/Brasil

Folded Space is a project by MSW that interacts with perception of Torre Pompéia building in São Paulo/Brasil. It uses video projection composed of geometrical shapes which, as they move and re-shape, transform the building onto which they are projected.
The video installation “folded space” uses the tension-filled constellation of massive parts of the building and bridge arrangements for a temporarily fresh interpretation.