IMPLICIT is a second year studio I helped run with Tim Schork at the Monash school or Architecture and Design. Photos above are of a 1 to 1 installation completed as part of the studio by Erica Ching.
The Performative Architecture Studio I am helping teach at Melbourne University with Stanislav Roudavski and Roger Alsop is getting to crunch time. Some of the techniques developed and posted on this blog are being utilised by students to produce a full scale dynamic installation. The photo above (credit: Viet Hoang) demonstrates on of the first runs of a large population agent system interacting with DMX lights and colour tracking through max MSP.
I remade the script from the previous post as GH clusters in order to facilitate multiple operations on the mesh faces (several extrusions for example). Unfortunately the definition needs to explode all of the mesh faces in order to extrude them separately, which slows it down considerably. Download below.
Wrote a quick little vb script for extruding mesh faces based on vertex colours. Turns out playing with dirty mesh topologies isn’t very easy in rhino as its favourite pastime is returning invalid mesh errors. I am trying out workflows similar to some nifty videos demonstrated on We Work For Her whereby mesh properties or UV map values are translated to xyz space. You can paint vertex colours in Maya and so it can be a very fast method for creating differentiated panelling or textures on complex geometries. Script as vb component is here
Ive been working on a system for constraining agent populations to mesh geometries in order to produce undistorted projections onto inflatable structures. The inflatable is modelled in Maya and imported into processing as a WETriangleMesh (toxiclibs mesh class) in order to make full use of the winged edge/connectivity information of the mesh faces. The mesh is projected to 2d to facilitate very fast edge intersection detection, and agents are rendered in 3d by projecting them back onto the 3d geometry. By storing the associations between agents and their current face on the mesh as a java map, looping through the population of agents or mesh faces can be considerably reduced. This allows for very large populations of agents (around 8000 in 12fps, up to about 30,000 at slower frame rates) and meshes of virtually limitless complexity.
Last weekend was the opening of the Powerhouse Museums international LoveLace exhibition in Sydney. I was fortunate enough to have my work nominated by a tutor (Tim Schork from Mesne) last year, and it picked up the Student Prize. Tim also won the digital category with his own collaborative effort with Supermanoeuvre. My own work was an extension of research posted elsewhere on this blog – using implicit surfacing techniques to materialise complex growth systems. The final piece was much smaller than intended due to time constraints. We had originally planned to take full advantage of Shapeways largest bed size for SLS Nylon printing, a whopping 700mm x 380mm x 580mm.
I put together a very simple script for creating vector fields from images, visualising the results with one of SPM’s vector field components. The script iteratively rotates a vector based on the greyscale difference between neighbouring pixels, and outputs the grid of vectors. Results and definition below.