Showing posts with label Jenny Sabin. Show all posts
Showing posts with label Jenny Sabin. Show all posts

April 24, 2009

Thanks

Dear all,


It was a pleasure working with all of you last week. Each of you produced an amazing body of work in just 5 days! Congratulations. Upon returning to Philly, I headed straight to Penn to help my own students install their final exhibition of work. I talked up your work considerably. Two exhibitions in two days . . . whew! I'd love to see some photos of the final exhibition. Send them my way if you have any. Stay in touch and best to you in your final term stretch.


For those of you that are interested in pushing ahead with some of the concepts and techniques that I introduced, following are some great websites to consult. I also highly suggest that you check out Informal by Cecil Balmond, 1000 Years of Nonlinear History by Manuel De Landa and essays by Sanford Kwinter.


http://www.rhinoscript.org/

http://www.processing.org/

www.smartgeometry.org

http://designreform.net/


Cheers,

Jenny

April 21, 2009

Updates

Hi all,

I dropped off the last batch of laser-cut files for the plexi early this morning (including your updated files, Chris - thx). I have also sent the remaining drawings. All of the drawings have plotted (finished this morning at 7:30!). So, we should be good to go. Please pick up your laser-cut pieces and assemble + paint your models. Also, we will need to trim the drawings down. Please bring some cutting mattes and cutting knives.

see you at 1:30,

Jenny

April 19, 2009

Schedule Update

Hi all,


The first batch of laser-cut models are coming out. Chris just assembled his first and it looks great! Another great day of work. Congrats! Please pick up your laser-cut pieces and begin assembling your models. Please bring your completed models to the AIR office tmro. I will be there all day tmro starting at 10:30am.


IMPORTANT: Please email me your drawings in pdf format tonight. We are going to plot them tmro afternoon. If they are large, please send them through www.yousendit.com It's a free service as long as your files are not larger than 100mb:).


So, here's the schedule for tmro.


MONDAY

10:30am - Jenny will be in the AIR office, No. 134. Please email or drop off your remaining .dwg files for laser-cutting by this time.


1pm - Whoever is available, please meet in front of the computer lab. We will load the paper and start printing the drawings.


5pm - Jenny's lecture.


TUESDAY

1:30pm - Final exhibition installation. Please meet in the gallery space. All laser-cut models and drawings must be completed and plotted by this time.

April 18, 2009

Game Plan

Hi all,


To recap:


3D Prints


So, after talking with Trent, there will be two batches of 3D prints going through. The first batch went through tonight and included the smaller file sizes. These will be printed, washed and cured by Tuesday. The second batch will go through tmro and includes heavier file sizes. This run will take upwards 62 hours, so, they will be done Wed or Thurs. Please add these models to the gallery exhibition once they are complete. 


Drawings


As mentioned, you should have at least two 36"x36" 'matrix' process drawings (one each for the looping/knotting studies and the wave grid studies). You should also have between two to six 36"x36" single drawing/image plots. These could be entirely line work or renderings. I would like these drawings to reference areas of interest that you may have not been able to print, etc. Or, perhaps they feature areas of study that the 3D print and/or wave grid panel may not. Think big, bold and beautiful. 


Tile/Wall Laser Cut panels


Tmro, we will begin our Laser Cut studies. By 11am, you should have two wave grid studies to start with. The goal is to build a wall/panel system from all of the individual tiles. We will send the first batch of files to the laser cutter by 3 or so. 


See you tmro at 11am. Great work today!


Jenny

April 17, 2009

Script Folders

Hi all,

So, I'm not allowed to post zip folders to the blog. I have most of your email addresses. I will send them via email shortly. Download the folders and unzip. Simply open the files in notepad, copy and paste in the script editor window in Rhino. Have fun and see you all tmro at 11am in the computer lab. We will review your matrix drawings then.

Jenny

April 11, 2009

Fun with Algorithms!


















Hi all,

I'm looking forward to our workshop next week. Attached, are a few images to get you going. We will be generating a lot of algorithmic patterns, geometries, forms, constructions and physical models. Have you ever thought about weaving or braiding a building? Please take a look at my latest post in the 'from Artist' section of the blog for further info. on the workshop

All the Best,
Jenny



March 22, 2009

R&Sie(n) House - Francois Roche











Last summer, I visited the house of R&Sie(n) in Paris. They had just finished the exterior hydroponic system. Attached, are some images for your interest. The glass vessels were hand blown into chicken wire. Each form is slightly varied from the next. Here, Roche returns to topics related to making and craft to create non-standard parts.

March 21, 2009

Jenny Sabin: Chris Gassaway






This is some work by Francois Roche... he uses scripting to generate his forms and also uses 3d milling/printing machines to physically manifest the generated forms. his website is here.
check it out.

Jenny Sabin: Chris Gassaway

In Fit Fabric: Versatility through redundancy and differentiation, it is suggested that the design of high-rise buildings needs to be rethought.  High-rise buildings,it argues, should be rethought as surface structures. 


Using surfaces solves two problems: stiffness and efficiency. A surface structure acts like a woven basket.  When one area of the weave is broken or acted upon the entire system acts to take the force, torque,etc and the system does not fail... this is in contrast to the central core concept (think world trade center).  Also the redundancy of parts in a surface structure help to streamline production and minimize materials thus increasing efficiency. 


Using structures with cylindrical morphologies is being studied on an architectural-scale by The Emergence and Design Group (Michael Weinstock, Achim Menges, Michael Hensel).  By using different morphologies with different load bearing capabilities a surface structure can be created with multiple load-path vectors.


The research of the Emergence and Design Group shows that a double helix shape with a narrowed waste handles forces well. By relaxing geometrical constraints differentiation occurred between the layers of helices.  These differentiations were used to create the shape of a panel which was tessellated over the entire form. Though the sizes were different the shape stayed the same.  The complex form was then made of only a few panel sizes.


This analysis led to the research of membrane skins. The same tessellated surfaces occur in custard apple fruits. 

Jenny Sabin: Katie Smither

The research.  I was assigned Buckminster Fuller and as it was a large amount of material, I have only gotten through the first 9 pages, but will post what I've read so far.  

The majority of his writing was on synergetics, what they are, how they are relative, and why they are important.  He provides a fixed definition for synergy: the behavior of a whole system unpredicted by the behavior of its separate parts.  For example, a stone wall is synergetic as each individual stone does not purposefully contribute its mass to the stone next to it.  The individual stone does not exert its mass upon other stones, nor is attracted to the neighboring massive stones in order to create the greater entity of a combination of stones.  It is merely a single stone being a single stone, therefore, the whole system is unpredicted by the individual parts.

The issue of the triangle came up when talking about the integration of parts to make a whole system.  A triangle is apparently a single open system as a line cannot close upon itself.  In reality, the line meets three points but when returning to its generation point, the line does not return to its exact starting point in space by melding with the origin line point, rather it sits on top of the the origin, creating a kind of triangular helix.  See the illustration to completely understand.  With this open-endedness in mind, the combination of two triangles does not have to result in two triangles, but rather can form a different system.  By exaggerating the triangle helix condition, a tetrahedron can be formed from the combination of the z-shaped helixes that are still completely triangles, one negatively rotated one positively rotated.  This provides an example of positive and negative versions of a system resulting in a stable form, the tetrahedron, which consists of four triangles.  Thereby proving that two triangles can be four triangles.  See illustration on page f5 of the provided text.
 

The article speaks often of synergy's importance in understanding nature, or the "Universe".  That if one does not completely understand synergy, one does not understand nature.  This is discussed in the condition of objects in space, metals and their alloys, and microbiological structures.  In all of these instances, the idea of synergy allows a greater, superior system to arise out of the unpredicted interaction of individual parts.  When looking at this idea geometrically, it is easy to see how this open-endedness lends itself to architecture, building, creating a limitless structural system.

He also mentions the validity of synergy by stating that it contradicts nothing in mathematics, physics, calculus, or testable experience.  I will try and remember to post anything else important as I continue reading.


????- Well, questions for Jenny.  Why do you think this is so important?  To understand this I mean.  Yes, it gives us the ability to understand structure and therefore emulate such systems in building them virtually or physically, but why do you think that is significant?  What does that give us as people?

????- Along the same lines, do you think this can lend itself to other fields other than those dealing with structure?  So, outside of the mathematic, scientific, physics based way of thinking....what does this offer?


????- Finally, your opinion please.  Metaphysics was mentioned.  If synergy is the unpredicted integration of parts to make a system, what based on this idea, gives the individual parts their characteristics.  The Universe is spoken of as an entity, greater than a creator, above creation, or above non-existing.  If to understand nature or the Universe, you must understand the synergy of systems; that means either everything revolves around the individual parts that do not predict the systems they create.....which means order is created out of chaos and chance......or that the individual parts have tricked us into believing there is not order within the combination to make the whole, when order does indeed come from order or a method of predetermination.  I'm not sure if that made sense, and I know this is kind of a big one, but the article brought it up.  I just want to know what synergy is saying about metaphysics and the existence of the things it speaks of.  

Thanks and talk to you later!

Katie 

March 20, 2009

Quesions about "Nonlinear System Biology and Design-Surface Design"

I have some questions about Jenny Sabin's article, which is "Nonlinear System Biology and Design-Surface Design".

1. What is the "3D scissor mechanism" and how to correlate with retractable roofs, chairs?

2. The concepts and techniques of Surface Design are used to aid the analysis on the relation between "mammary epithlium" and "Tenascin-C (and laminin)". Why use the digital algorithms (Delaunay Tessellation and the Voronoi diagram) to form the model? Could you explain why this surface can reflect the information of mammary epithelial tissue contour? Is it an assumption or a principle in medical field?

3. In the comparison between two cases (one is normal control, another one is exposed to both lamini and tenasicin-C), I am wondering whether you need to consider and establish the algorithmic "lamini and teasicin-C".

Thanks!

Julian

March 19, 2009

Extreme Textiles--A Transformed Architecture



The essay titled “A Transformed Architecture” by Philip Beesley and Sean Hanna presents developments of textile-based building concepts and related examples of architectural projects. They claim the textile-based structures revolutionize the architecture to achieve the goals of lighter, stronger, more responsive, and more efficient. A range of examples, including some familiar buildings such as the Swiss Re Headquarters by Foster and Partners, is used to demonstrate the ideas for the incorporation of textile technologies in the building of lightweight floating cities.

Philip Beesley and Sean Hanna, in the beginning, discuss the origin of textiles-based construction, which exists in the settlement in the Paleolithic age. That is, the first building materials to emerge were not masonry, but textiles. Also, the present technology emerging returns to these traditions and share many of the underlying principles from ancient woven construction concepts like wattle-and-daub and thatch because these ancient integrated fabric can provide excellent tensile strength and then still suit lightweight building systems today. Further, the fabric is constantly evolving such as new fibers composed by glass and carbon.

In the following contents, authors explain the textile systems’ efficiency compared with traditional construction and described two methodologies for analyzing textile systems. Traditional buildings are quite vulnerable to shifting and buckling forces; that is, wind and earthquakes (lateral and upward-pulling pressures) increase the challenge of traditional buildings. However, thin and continuous strands of resilient material in textile systems can easily handle these tensile and even more complex forces. On the other hand, Buckminster Fuller and John Argyris invented Synergy in the 1940s and Finite Element Analysis in the 1950s respectively. These analysis methods play the key underlying role in analysis and design fabric structures.

In the last part of the essay, the four textile examples with innovative insights into designing are offered for demonstrating the textile-based buildings’ benefits. The first project, Peter Testa’s Carbon Tower, is built of carbon fiber and composite materials. In this forty-story office building, the main structure is woven together and achieves an unparalleled synergy of elements. The Carbon Tower offers the efficiency on dealing with forces, the saving expense of transportation on light materials and the potential to last longer and require less maintenance. The second example involves Michael Maltzan’s Lenoa Drive Residence consisted of stiff and light materials based on carbon-fiber textile. The project provides a possibility of serving a family’s daily life. Inflatable and rigidizabale structures are discussed in the third work developed at ILC Dover and Vertigo. These rigidisable structures, like Airbeam, flexible epoxy-coated fiberglass, shape-memory polymers, can offer far more strength and possible uses with readily changing shape than other existing inflatable structures. The last study relates to Floating Cities based on geotextiles, which are landscape-engineering technologies that are literally woven into the earth. In this field, the textile systems are used to prevent soil erosion or protect embankments (or slopes) or cultivate and reposition plants. This technology affects scales from artificial landscapes to entire cities.

-Julian Wang

March 16, 2009

Jenny Sabin: Mike Droske

Olafur Eliasson: Vibrations

"Physics has found no straight lines - has found only waves. Physics
has found no solids - only high-frequency event fields.
THE UNIVERSE IS NOT CONFORMING TO A THREE-DIMENSIONAL
PERPENDICULAR-PARALLEL FRAME OF REFERENCE. The
universe of physical energy is always divergently expanding
(radiantly) or convergently contracting (gravitationally) ." -Buckminster Fuller


Everything we know of is a process. Physics has shown that there are no solid, discrete objects.
Within time, everything changes. Time itself is an individual phenomenon, restricted to our own perceptions, our own lifespans. Our individual perspectives differ, and time, likewise, is relative.

Eliasson suggests that "every space and every situation contains in itself the potential for reevaluation and renegotiation." People, given the proper tools, should be able to engage the space that surrounds them. Buildings and landscapes shape our environments-but we can likewise shape our environments-indeed- our presence itself does this.

In addition to the three spatial dimensions, there is time, the fourth dimension. There is also individual observation and participation within these dimensions, or, Eliasson puts it: Your Engagement Sequence (YES).

In the vast interrelationship of waves that comprises our universe, every action and engagement we have with our surroundings is a two-way transaction. Eliasson is fascinated by this transaction-this is what constitutes our individual engagement with the universe. The ability to see oneself from a third-person point of view- for example, "the ways in which the visitors [to an art gallery] may experience themselves experiencing the artwork" helps people realize the role they play in the larger patterns of society, and helps put their individual experience into perspective. A work of art will affect different individuals differently, and it should be allowed to. When art is intended to have a general, universal effect on everyone and doesn't allow individual interpretation-this ignores the basic facts of the universe.

March 7, 2009

Algorithmic Design

Dear all,

I'm looking forward to our workshop upcoming April 16-22. In a broad sense, the workshop will explore intersections between algorithmic design and material organizations. As you begin to sift through the readings and references, I would like you to ponder the following questions: What is algorithmic design today and how is it impacting culture and our built world? How does it situate itself within a broader and perhaps historical trajectory within art, design, technology and society? The increased stores of information available within design technology are insisting on new models for information mediation, collaboration and “seeing” amidst an ever-increasingly complicated information context. What types of models afford new ways of "seeing"? 

I look forward to your questions and comments.

-Jenny
jsabin@cabin-studio.com
www.jennysabin.com
www.sabin-jones.com

Jenny Sabin Research -- time line

Due to the schedule, we have no Friday class meeting between the Rebar workshop and Jenny Sabin's arrival on April 17. Jenny's schedule doesn't allow for a conference call on our next class meeting.

So we've developed this timeline for blogging:

By Friday, March 13: Review materials below, and post questions on this blog about the workshop. What would you like to ask her to prepare for her workshop?

Sometime before Friday, March 20: Jenny will answer questions.

By Friday, March 27: Post any followup conversations with her.

Between Friday, March 27 and Friday, April 3: 2nd workshop is happening

Friday, April 10: no class, Good Friday.

Friday, April 17: Jenny arrives, workshop begins.

February 24, 2009

Jenny Sabin Research

Jenny Sabin workshop description (pdf, 1.5 Mb)

Readings for the workshop (zip file, 154 Mb)

Rhino scripting primer (pdf, 3.6 Mb)

Also, research artist and scientist Ernest Chladni

January 22, 2009

Jenny Sabin

(held for links)