View allAll Photos Tagged parametric
Branching Respiration Skin (Yukio minobe, 美濃部幸郎, 2008-2009)
この研究プロジェクトはバイオミメティクスの観点をベースに、自然の形態システム（モーフォロジー）をアルゴリズムにより再現し、環境性能の高い建築を生成する方法を探求している。自然界の中で高い換気性能をもつシロアリ塚を参照し、そのモーフォロジーが流線形の外形と内部の導管のブランチング・システムの組み合わせとして解釈されている。さらにこのモーフォロジーをデジタルに再現構成するアルゴリズムと、このアルゴリズムをエンジンとするパラメトリック・デザインと流体解析シミュレーションをループさせたデザイン・プロセスが新たに開発された。この統合的デザイン・プロセスは、環境の外的条件とその建築形態による内的な環境性能を有機的に関係させ、建築を自然環境に最適に適応するものとして生成することを可能にしている。
This project investigates a computational design methodology with reconstructions of natural morphologies through computational algorithms based on Biomimetics whereby higher-performative architecture can be generated. Termite mounds as a representative reference of the highest performative system in nature in terms of its natural ventilation are interpreted as the combination between the streamlining external form and internal branching systems of air conduits. Furthermore, a computational algorithm, which can reconstruct termite mounds' morphologies, and a new design process looping between parametric designs driven by the algorithms and C.F.D. simulations are developed. This integral design process can make architectural forms adaptive to nature through the reciprocity between external conditions from environments and internal performances of architecture itself.
I took photos of Selfridges in the dark, as they put up "Happy Christmas" in the two windows where it usually says Selfridges. But it is still October! At least a month early for this.
Not even had Halloween this year!
Seems a bit early for Christmas lights.
The parametric bridge in the dark.
WFreeform (2016, #parametric #data-driven #3Dprinting bracelet)
Part of data-driven project for @Freeform (formerly ABC Family) brand relaunch, commissioned by Deep Local. WFreeform is my personal execution and constitutes one of 5 parametric designs, the entire project being a collaboration with Madeline Gannon and Deep Local creatives.
Coded in Processing using Modelbuilder, Hemesh and Toxiclibs libraries for scaling to headless cloud-based model generation. Data input consists of users' Twitter feeds, with 5000 total users picked via online sweepstakes.
Interactive Parametrics Workshop w/ Studio Mode and MakerBot, Feb 19-21, 2011. Processing, MakerBots and people who know about making objects.
totally generative building, all the structural elements were generated by scripts and functions, the whole system is 100% parametric.
Object based on audio data and produced using rapid prototyping. The model was built parametrically as a Processing application.
The sound input is "Oslo Rain Manifesto" by Alexander Rishaug.
The final product will be 25 x 25 x 5 cm, mounted on dibond. Created for the exhibition "Frozen" at Melkweg in Amsterdam, an event that is part of the 5 Days Off festival and focuses on the manifestation of sound in non-aural media.
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
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
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/
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.