View allAll Photos Tagged parametric
Architects: Zaha Hadid Architects, 2011.
The glass wall with reflections of SV Glenlee is quite magical.
Stuttgart Parasol
Research Pavillon ICD/ITKE 2010
Temporary parametric Pavillon consisting of 10m long, 6.5 mm thin birchwood strips
Institute for Computational Design ICD, Prof. Achim Menges
Institute of Building Structures and Structural Design ITKE, Prof. Jan Knippers
University Stuttgart Germany
photographed by
Frank Dinger
BECOMING - office for visual communication
published as preface to MESSAGIO GALORE take V by & as part of the Ottawa International Writers Festival, spring 2oo8
____________________________
MAID MANIFEST: FRAMING THE O
posited
music is a structured act of listening. regardless of the origin of the sound source – a rigidly-structured symphony for double orchestra & mixed choirs, say, or the next 4 minutes & 33 seconds of random air perturberances – it is that act of listening that imposes conceptual stavery on the aural recept.
the oral recept, in the other ear, though similarly informed by the same sets of intervalencies (pitch/timbre/duration), is subjected to a conceptual receipt that aims almost solely at semantic construction, the materiality of the sounds themselves all but transparent in servility to the carried content.
sound poetry exists in the wide expanse between & interpenetrating into music & literature. a focus on the materiality of language stretches all the way from our prelinguistic heights to well beyond the current fashionations of postmodern cacademicism. from inadvertent grunt when the rock conks yr block to highly sophisticated choral extravaganzæ, sound poetry resists static definition of its material malleability.
deposited
as much as sound poetry enjoys parametric freeplay through literary & musical semioses, fixing on the sounds themselves as product is only part of the equation, the score all but transparent to the listening.
sound poetry is synæsthesia at work, a process of sounding sight. while this can be said of reading words & music generally, sound poetry's formal malleability is not limited to its manifestations as sound but is equally delimited in terms of its scoring techniques, which can contain elements of musical, literary &or a variety of optophonetic notational systems (a score can also be simply a set of instructions (not unlike a recipe) or a photograph of a leafless tree, its branchings ripe with lettriste pickings).
reposited
sound poetry is genrificational sabotage, rupturing the passivity of somnolent audi(o)ence.
audience is activerbal, re(ac)quiring an intercourse of emotion & intellection that allows the recept the rapture of conception.
not deconstruction but reconstruction.
not demented but remented.
_________________
MESSAGIO GALORE
province
sound is always an aspect of any form of writing, deliberately or not. from interior devices such as alliteration & homophony through chant & concrete poetry to sound scored for one or more voices, even the overt avoidance of such fascinations describes an acute awareness of the connotative potential of sound as content. red allowed, sound fastenates.
provenance
if linear poetry, chant & soundscores can be read aloud, it stands to reason that other forms of non-unilinear writing can be subjected to optophonetic translation processes into sound. at latest as early as the 19teens, sound poetry was battering at the bafflements of the genteel poetry reading & has continued in development ever since, albeit marginalized (from whence came, it should be remembered, such wondrous sepses as the Carmina Burana).
despite this continuity, its marginalization has been equally continuous & there is not – now, in Canada – much in the way of public performances of sound poetry outside the occasional choral novelty & random inclusions in various writers' readings. as a willwishing audience to such work, this is somewhat less than satisfying.
providence
MESSAGIO GALORE is thetic: an examination of scoring, reading, sounding & hearing techniques across as wide a range as one person with scant resources finds possible to play with.
its function is as a sort of a personal/live/serial anthology of chameleonate content, utilizing my own archive of material & many friends willing to undergo the rigours of rehearsal. while serving as a forum for my own compositions, it has grown to include much historical material from a wide range of sources both Canadian & international, its reach extending from the prolonged present (there will be new works premiered each time around) back to the 6th century (sofar).
_______________________
ALEXANDER'S DARK BAND
participation
MESSAGIO GALORE is curated, directed, mainly arranged & performed, & partly written by jwcurry with the able assistance of many. it has been part of the study to perform particular pieces with a variety of people to hear how personality functions & modifies performance. thus far:
MESSAGIO GALORE: with Maria Erskine, 26 february 2oo4, Ottawa
MESSAGIO GALORE II: with Max Middle & Jennifer Books, 24 september 2oo5, Ottawa
MESSAGIO GALORE III: with Peter Norman, Ross Priddle & Laurie Fuhr, 21 july 2oo7, Calgary
MESSAGIO GALORE IV: with/as Alexander's Dark Band & Auxiliary, Trish Postle, 6 october 2oo7, Toronto
MESSAGIO GALORE V: with/as Alexander's Dark Band & Auxiliary, John Lavery & Carmel Purkis, 13 april 2oo8, Ottawa
particulation
Alexander's Dark Band consists of jwcurry, Maria Erskine, Nicholas Power & Rob Read
particularization
Alexander's Dark Band is the darker zone between primary & secondary rainbows, a light phonemenon Nicholas Power encountered in working on his manuscript of concrete poetry, The Theory of the Rainbow, in the early mid-'8os. he commented then on the potential aptness of the name for an ensemble, should he ever find himself part of one. during the delights of our gruelling rehearsals in Toronto, i was struck by the functionality of our working unit &, unanticipated by Nick, figured it made sense to have this specific collective be so-named & announced us as such.
post-performance, it was determined that we would be most interested in working further together on this project, honing & developing, expanding what might be possible with a fixed continity of personnel.
MESSAGIO GALORE will continue to explore other vocal apparati (both in terms of different ensembles & Alex's auxiliaries) but revels in the rewards of such a dedicated quartet
___________________________________________________________________________
part 1
1. Collaboration No. 2, Steve McCaffery (Canada, 1978?). duo: curry/Power
2. Hare Pronounced Hair, Rafael Barreto-Rivera/Paul Dutton/Steve McCaffery (Canada, 1977). trio: curry/Power/Read
3. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964). full quartet
4. ears, Michelle April/jwcurry (Canada, 2oo6). solo: curry
5. Riryphur's rurrusur, jwcurry/Rob Read (Canada, 2oo8). full quartet
6. Generations, bpNichol (Canada, 1988). solo: curry
7. Alice in Wonderland, Sam Loyd (USA, 189-?). full quartet
8. Salmon River Soliloquy, David UU (Canada, 1973). solo: curry
9. SEVEN WAYS OF STARVING, jwcurry/Beverley Daurio (Canada, 199o?). full quartet
1o. "CRUX ", Venantius Fortunatus (Merovingia, c.53o-6oo). full quartet
11. der minister I, Jaap Blonk (Netherlands, 1992?). solo: curry
12. Devil-Trap Spiral, John Furnival (England, 1965?). solo: curry
13. KARAWANE, Hugo Ball (Switzerland, 1917). solo: curry
14. Monograms–Genealogy–Grammarology, bpNichol (Canada, 1988). full quartet
15. CRODZIAC DZÉGOUM APIR, Claude Gauvreau (Canada, 195-?). solo: curry
16. sweet suite suet, Ernst Jandl (Austria, 197o?). solo: curry
17. DAS GROSSE LALULA, Christian Morgenstern (Germany, 189o?). solo: curry
18. " end ant ", Wharton Hood (Canada, 1996). duo: Power/Read
19. WORM, Bob Cobbing (England, 1954). full quartet
2o. Forcible dislocation of personality, Herbert Stencil (Canada, 1994?). full quartet
21. WELTWEHE, August Stramm (Germany, 1914). solo: curry
22. KNOTS, jwcurry (Canada, 1982). duo: Erskine/Power
23. SHIFT 3, jwcurry/Peggy Lefler (Canada, 1982). intro: Power; duo: Erskine/Read
24. A LITTLE NASTINESS, Four Horsemen (Rafael Barreto-Rivera/Paul Dutton/Steve McCaffery/bpNichol; Canada, 1981). full quartet
25. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan/Ian Underwood/Mark Volman (USA, 1975). full sextet with Alec's Socks
26. " Mon Olivine ", Claude Gauvreau (Canada, 196-?). solo: curry
27. " My Olivine ", Claude Gauvreau/translated by Ray Ellenwood (Canada, 197-?). solo: curry
28. SHE WAS A VISITOR, Robert Ashley (USA, 1967). full sextet with Alec's Socks
(intromissium)
part 2
29. Heights (Universal Language), Alexei Kruchenykh (Russia, 1919?). solo: curry
3o. Another Motive, Rafael Barreto-Rivera/bpNichol (Canada, 1979). full sextet with Alex's Socks
31. APPROXIMATE, Frank Zappa (USA, 1972?). full quartet
32. " kp'erioUM ", Raoul Hausmann (Germany, 1918)
33. OPIUM MARBLE, jwcurry (Canada, 198o). duo: curry/Read
34. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995). solo: curry
35. East Wind, bpNichol (Canada, 197-?). full quartet
36. Fury of Sneezing, Kurt Scwitters (England, 1946?). solo: curry
37. PLEASE SIGN MY CAST – NO, NOT THERE; HIGHER, jwcurry (Canada, 2oo8). full quartet
38. PAESAGGIO + TEMPORALE, Giacomo Balla (Italy, 1915). solo: curry
39. CANZONE RUMORISTA cantata in coro sui teatri d'Italia in ANICCAM del 2000, Fortunato Depero (Italy, 1916?). solo: curry
4o. Marcia futurista, F.T.Marinetti (Italy, 1916). solo: curry
41. CANZONE RUMORISTA (ritmo cinese), Fortunato Depero (Italy, 1916). solo: curry
42. Oiseautal, Raoul Hausmann (France, 1918?). solo: Read, simultaneous with
43. Super-Bird-Song, Kurt Schwitters (England, 1946?). solo: curry
44. B, François Dufrene (France, 1958). trio: curry/Power/Read
45. Pike-Fishing North Milne Lake, Gerry Shikatani (Canada, 1977?). full quartet
46. ONAN's NANOLECHCTURER, jwcurry (Canada, 2oo2). solo: curry
47. MUSHY PEAS, Steve McCaffery/bpNichol (England, 1978). duo: curry/Power
48. der minister II, Jaap Blonk (Netherlands, 1992?). solo: curry
49. Pieces Of Stop, bpNichol (Canada, 1978). full quartet
5o. TRACT, jwcurry (Canada, 1995). solo: curry
51. 16 Part Suite, Steve McCaffery/bpNichol (Canada, 1971-8?). duo: curry/Erskine
52. " pouadlé ", Václava Vokolka (Czechoslovakia, 198-?). full quartet
53. INTERRUPTED NAP a verbal/pre-verbal landscape, bpNichol (Canada, 1982). solo: curry
54. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, Dom Sylvester Houédard (England, 1966). duo: Power/Read
55. WHITE TEXT SURE version ten, bpNichol (Canada, 1981). full quartet
56. Scomposizione I, Luigi Gallina (Italy, 1933). full quartet
57. Artikulationen, Franz Mon (Germany, 199o?). full quartet
58. TWO: Less Time, bpNichol (Canada, 1982?). full sextet with Alec's Socks
59. A THOUSAND MOODS A MINUTE, Shant Basmajian (Canada, 1992?). full sextet with Alec's Socks
6o. ma meeshka mow skwoz, Mike Patton (USA, 1995). solo: curry
61. "How The Pigs' Music Works", Frank Zappa (USA, 1994). trio: Erskine/Power/Read
___________________________________________________________________________
cover: Herbert Stencil (2o above)
___________________________________________________________________________
filmed by Josh Massey
___________________________________________________________________________
see also:
invitations:
www.flickr.com/photos/48593922@N04/8306764432/
www.flickr.com/photos/48593922@N04/8316345864/
photos:
www.flickr.com/photos/johnwmacdonald/2413412026/
www.flickr.com/photos/johnwmacdonald/2413820348/
www.flickr.com/photos/johnwmacdonald/2412816001/
www.flickr.com/photos/johnwmacdonald/2413730700/
www.flickr.com/photos/johnwmacdonald/2413678042/
www.flickr.com/photos/johnwmacdonald/2413597778/
www.flickr.com/photos/johnwmacdonald/2413705652/
www.flickr.com/photos/johnwmacdonald/2413760060/
www.flickr.com/photos/pearlpirie/2417145426/
review:
pearlformance.livejournal.com/97847.html
publications:
www.flickr.com/photos/48593922@N04/7454852466/
www.flickr.com/photos/48593922@N04/7454776018/
rack 1:
Magnecord Tube Mic Pre
Orban 642 Parametric EQ
2x AudioArts 4100 Parametric Crossovers
Furman PQ-6 Parametric EQ
Ashly SC-66 Parametric EQ
Ashly SC-66A Parametric EQ
rack 2:
Ibanez UE-400 MultiEffects
Ibanez AD-202 Analog Delay
Lexicon Prime Time 93
Lexicon Super Prime Time 95
Ursa Major Space Station SST-282
Hi-Watt Tape Echo
Peavey DEP-1300
Unicord SMR-4 Spring Reverb
rack 3:
ADR-740 Autophase
A/DA TFX-4
A/DA STD-1 Stereo Tapped Delay
Loft 440 Delay/Flanger
Marshall Time Modulator 5002
TC Electronic 1210 Stereo Chorus / Spatial Expander
Eventide Instant Flanger FL-201
Systech Flanger 4000A
rack 4:
DeltaLab DL-2 Acousticomputer
DeltaLab DL-4 TimeLine
DeltaLab DL-5 Harmonicomputer
MXR Flanger/Doubler
SPL Transient Designer
DBX 119 & 128 Compressors
Valley People Dynamite
USAudio Gatex
Yamaha R-1000 reverb
Roland SRV-330 reverb
Korg DRV-3000 reverb
This is how I worked out the design of the Kid Flier 6.5. I did some parametric sketches with ratios of wing chord to fuselage length and locations, considered wing shape, curvature, practical considerations like 8.5 inch or 11 inch span to use a single sheet of commom (North American) paper with the least cutting. At the end, I had a design with some possible different size pieces (different overall wing chord, tail surface sizes.) I made up a number of experimental versions with different chords, etc, picked the one I liked best, revised that, and that where I got the design. Serious fun.
See the "Part 2" skteches for that standard fuselage I came up with and some scaled versions I still need to try...
Note that the square, triangle, skinny rectangle and fat rectangle down the middle are all 9 squares in area. This desiign would be a good departure point for someone who wanted to compare wing shapes in different flight regimes...
sc00acf67e
Chess Knight modeled in Creo Parametric incorporating a revolved base feature, blended body feature, and extruded head feature.
SOFTlab: (n)arcissus. Parametrically designed installation for the stairwell of the Frankfurter Kunsverein.
During my short trip to Birmingham I had many alien encounters...
The fantastic Selfridges building has been designed by Future System architectural practice. It is clad in 15,000 shiny aluminium discs, said to be inspired by a Paco Rabanne sequinned dress.
The 37-metre long, curved, polycarbonate-covered footbridge - known as the Parametric Bridge - leads to the car park.
some older 3d printing test on a lasersinter. Due to the delicate structure and the contraction of the material some small connections broke. Nonetheless I wanted to share this with you.
Topography of Leshan, China with analysis of solar incidence (with respect to average annual daytime solar angle) and number of hours of direct (<35° to normal vector) solar exposure.
The parametric definition uses the Custom Preview scripts defined here for the hatching and to draw the popup windows as screen-oriented overlays.
Traces of Nature
Beirut design week at Beit Beirut exhibition 2018
Designed and Fabricated by Rebal Jaber
Stuttgart Parasol
Research Pavillon ICD/ITKE 2010
Temporary parametric Pavillon consisting of 10m long, 6.5 mm thin birchwood strips
Institute for Computational Design ICD, Prof. Achim Menges
Institute of Building Structures and Structural Design ITKE, Prof. Jan Knippers
University Stuttgart Germany
photographed by
Frank Dinger
BECOMING - office for visual communication
Sukkah City' @ Union Square, NYC
by navema
ABOUT SUKKAH CITY
'Sukkah City' is an international design competition to re-imagine this ancient phenomenon, develop new methods of material practice and parametric design, and propose radical possibilities for traditional design constraints in a contemporary urban site. Twelve finalists were selected by a panel of celebrated architects, designers, and critics to be constructed in a visionary village in Union Square Park from September 19-20, 2010. Over 150,000 people visited Sukkah City. One structure is chosen by New Yorkers to stand throughout the week-long festival of Sukkot as the People's Choice Sukkah of New York City. The process and results of the competition, along with construction documentation and critical essays, will be published in the book "Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years." Selected entries will also be displayed in an exhibit at the Center for Architecture in New York City during September 2010. Next year, Sukkah City will expand from New York City to cities all around the world.
People behind Sukkah City: Joshua Foer (a journalist, author and the founder of the Atlas Obscura - an online compendium of the world’s curiosities), and Roger Bennett (co-founder of the Idelsohn Society for Musical Preservation, and Reboot - a network of thought-leaders and tastemakers who work to "reboot" the inherited culture, rituals, and traditions and make them vital and resonant).
Partnerships: Jennifer Falk and the Union Square Partnership. Dani Passow of Yeshivat Chovevei Torah, and Thomas de Monchaux.
The Jury: Michael Arad, Ron Arad, Rick Bell, Allan Chochinov, Matias Corea, Paul Goldberger, Steven Heller, Natalie Jeremijenko, Maira Kalman, Geoff Manaugh, Thom Mayne, Thomas de Monchaux, Ada Tolla, and Adam Yarinsky.
For more info visit: www.sukkahcity.com
ABOUT SUKKAH OF THE SIGNS:
The structure is made of nearly 300 signs collected from indigent across the U.S. (San Francisco, San Diego, San Jose, Las Vegas, Oakland and Denver). The collection represents an incredible archive of the meaningful, yet often desperate, forms of communication that take place on the streets of cities every day. Like traditional sukkahs, which recall the 40 years of wandering after exodus in the biblical story, The Sukkah of the Signs calls attention to the contemporary state of homelessness. By purchasing homeless signs from the individuals who made them, we also contributed to the short term needs of people living on the street. Like the signs, the schach used to cover the roof was also collected from the street. Clippings from plants in Union Square Park and from the studio where the sukkah was constructed in Brooklyn create a dappling of light on the interior of the sukkah.
The final design varied from the original (which can be seen here: www.sukkahcity.com/sukkah/sukkah-of-the-signs.php) as the New York Building Department only allowed for a 10′ tall structure (vs. the original 18′ tall design). To maintain the original intent of framing the sky, the design was turned on its side.
Project Team: Blane Hammerlund, Maricela Chan, Emily Licht
Fabrication: Karol Popek (Modelsmith International Inc.)
The Homeless House (www.thehomelesshouse.com) is a website documenting the process of obtaining signs and the people and places encountered along the way.
ABOUT THE DESIGNERS:
RONALD RAEL, of Rael San Fratello Architects, is an architect, author, and Assistant Professor at the University of California, Berkeley. Prior to joining the faculty at Berkeley he was the co-director of Clemson University’s Charles E. Daniel Center for Building Research and Urban Studies in Genova, Italy, and coordinator of Clemson’s Core Digital Foundation Architecture Studios. He has been a member of the Design Faculty at the Southern California Institute of Architecture in Los Angeles, an Assistant Professor at the University of Arizona, and a Senior Instructor at the University of Colorado at Boulder. He earned his Master of Architecture degree at Columbia University in the City of New York, where he was the recipient of the William Kinne Memorial Fellowship.
Rael’s research examines the convergence of digital, industrial, and non-industrial approaches to making architecture. He was the recipient of a Graham Foundation Grant for “Constructed Topographies: Earth Architecture in the Landscape of Modernity”; winner of the Architectural League of New York’s Deborah Norden Competition for “Wadi Hadramut: Cities of Earth”; and is author of Earth Architecture (Princeton Architectural Press, 2008), which examines the contemporary history of the oldest and most widely used building material on the planet—dirt. His website, EarthArchitecture.org was ranked by MoPo 2009: Worlds Most Popular Weblogs on Architecture as among the top 20 blogs on architecture worldwide.
VIRGINIA SAN FRATELLO, NCAARB, B.Envd; North Carolina State University, M.Arch; Columbia University, is a licensed, practicing architect with over 10 years of professional and academic experience. Prior to joining the faculty at California College of the Arts she was the co-director of Clemson University’s Charles E. Daniel Center for Building Research and Urban Studies in Genova, Italy. She has been a member of the Design Faculty at the Southern California Institute of Architecture in Los Angeles and a Visiting Professor at the University of Arizona.
San Fratello’s research revolves around the convergence of digital, ecological, and building component design in architecture. She was the recipient of Metropolis Magazine’s Next Generation Design Award for her Hydro Wall concept and with Ronald Rael currently has a collection of recently designed masonry units which hold vegetation on display in New York. She is working with manufacturer / distributors to launch these innovative and sustainable architectural building components into the market place.
For more info, visit: www.rael-sanfratello.com/
Sukkah of the Signs, Ronald Rael, Virginia San Fratello, indigent, homeless signs, cardboard, cardboard signs, schach, Blane Hammerlund, Maricela Chan, Emily Licht, Karol Popek, Modelsmith International Inc., The Homeless House, Rael San Fratello Architects
ABOUT THE SUKKAH
Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoice.
Ostensibly the sukkah's religious function is to commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt, but it is also about universal ideas of transience and permanence as expressed in architecture. The sukkah is a means of ceremonially practicing homelessness, while at the same time remaining deeply rooted. It calls on us to acknowledge the changing of the seasons, to reconnect with an agricultural past, and to take a moment to dwell on--and dwell in--impermanence.
SOME OF THE RULES - Historically, the sukkah's permanent recurrence is not as a monument, archetype, or typology, but as a set of precise parameters. The paradoxical effect of these constraints is to produce a building that is at once new and old, timely and timeless, mobile and stable, open and enclosed, homey and uncanny, comfortable and critical:
* A whale may be used to make a sukkah's walls. Also a living elephant.
* The sukkah must enclose a minimum area of at least 7 x 7 square handbreadths.
* A sukkah may be built on top of a camel.
* If the sukkah has only 2 complete walls, and they face each other, a third wall of at least 4 handbreadths must be within 3 handbreadths of one of the complete walls.
* The roof cannot be made of bundles of straw or sticks that are tied together (although untied straw or sticks may be okay).
* The roof cannot be made of utensils, or anything conventionally functional when it is not part of a sukkah.
* There is no maximum area, except in NYC where any structure larger than 19 x 8 feet is not considered temporary by the DOB.
* The roof cannot be made of food.
* The sukkah must have at least 3 walls, but the third doesn't need to be complete. The walls must remain unshaken by a steady wind.
* At night, one must be able to see the stars from within the sukkah, through the roof.
* The sukkah must have a roof made of schach: the leaves and/or branches of a tree or plant.
* If there are only 2 complete walls, and they form a corner, a third wall of at least 1 handbreadth must be within 3 handbreadths of one of the complete walls.
* A sukkah may be built on a boat.
* A sukkah may be built on a wagon.
* A sukkah may be built in a tree, like a treehouse. But it cannot be built under a tree, or any overhanging surface.
* In day, the roof must provide more shade than sunshine. Its individual construction elements must be less than 4 handbreadths in width.
* The sukkah must draw the eye up to its roof, and to the sky beyond.
* The roof must be made from something that once grew in the ground, and is no longer attached to the earth.
* The sukkah must be at least 10 handbreadths tall, but no taller than 20 cubits.
* The base of the walls must be within 3 handbreadths of the ground, but need not reach the roof.