1999.01.24 18:47
Re: archi-tech, was def: Computer Aided Doctrine
...it may not seem so obvious, but it is probably more true that the way we think influences the way we use tools.
1999.01.25
ideas
Ichnographia Ottopia - start by using Giza Pyramid on the axis of death at true north orientation, infringement complex within the same area, the whole Ichnographia Campo Marzio so far, the whole plan oriented true north. I will fill in the rest of the Campo Marzio, plus I will add more around the new rectalinear perimeter. I will follow both Piranesi's plan and my own design ideas to complete-fill in the unfinished portions of the plan.
1999.01.28
infringement complex 2, etc.
I am going to do this one soon, and it will incorporate the same model but I will be changing the scale of each building (which may involve moving the buildings around as well). I will also be altering the elevations, and here I will be using a number of techniques including ri patterning, applying perspectives from infringement complex 1, applying elevations from the group elevations. (I just thought that a third complex could have Campo Marzio plans as the elevations.)
Actually, I just thought that I should begin applying all kinds of elevations to the Center City model. Perhaps it is the Philadelphia model that I mix with the Campo Marzio. I know that I'm soon going to be working on Ottopia, and that it will surely become the main piece of the whole exhibit. That is where I will exactly be able to create whatever I want to, and the craziest part is that I may not have to actually create anything new at all--I'll just be using the data I already have. My mind is really beginnig to think about a whole new free aproach to everything.
1999.01.31 16:27
Re: archi-tech, CAD History, tool making
Getting a quantitative handle on "the way we think influences they way we use tools" is as simple as grasping the grammatical different between active voice and passive voice. Anyone taking a passive position with regard to (for example) CAD, i.e., to be acted upon by CAD, will by default see CAD influencing their thinking. Conversely, anyone taking an active position with regard to CAD, i.e., acting upon CAD, will thereby see their thinking influence the way they use CAD.
I can't help but also think that many intelligent architects are unfortunately (academically?) conditioned into following a passive position toward CAD as well as towards "interdisciplinary-ism"--hence your own reluctance to (self) critically ponder areas of cognition because you are not a psychologist. Furthermore, I see one's own thinking influencing the way one uses tools as an essential feature of the creative/artistic process.
As an aside, anyone who thinks that the use of computers and CAD destroys the potential for creativity is plainly being ignorant, probably inexperienced, and overall foolish.
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1999.02.09
ideas
maison millennium?? will be the Bye House and the Absecon House. I think I'm going to have a lot of fun with this aggregate (however, I still need to create the model interior of Absecon). I already know how I'm going to switch the two walls.
1999.02.21
moving ahead
Before I start designing and presenting Ottopia, I need to finish the presentation of Steve's arcopolis, Parkway Interpolation, the Houses for Otto (which are kind of not anywhere right now). Along the way, I want to see much more experimentation using and collaging my 3d model collection. This will allow me the opportunity to see and present all kinds of "buildings" that have never been seen before, and eventually these building will become part of Ottopia.
It just occurred to me that I could-should generate a Nolli type map of Ottopia, which will make use of all the 2d data presently at my disposal. I'm also just thinking that the plan of Ottopia really doesn't have to make any sense, in fact, if it is to be a real reflection of schizophrenia, then it really shouldn't make any (common) sense.
1999.03.13
21st century buildings
I was just thinking tonight how I seem to have the ability to think about (design) what the next big "style" will be well before it actually happens, and along those lines I thought one easy way to figure out what's going to be next is to look at late Corbu and then take it a step further. I immediately thought of the Olivetti project and these wild curvy wiggly office towers, and even then crashing them together. Moreover, the way that Olivetti is on a raised "terrain", I thought of easily creating a "terrain" out of pieces of the Media base model, and then having that raised on pilotis. The imaginative designs on this theme alone are boundless.
1999.04.14
an alter-ego for Quondam
...I started to think about creating an alternative Quondam environment, one that is accessed through Quondam's main page, and utilizes the same collection and themes as Quondam , but nonetheless affords Quondam a "place" to be much more liberal, uninhibited, and all out revolutionary(?). At first it may appear that I am borrowing the theme of schizophrenia + architectures, but that is really not what I intend at all. My main objective is to alpply all the new dexterity implications inherent in CAD and the digital revolution vis-à-vis architecture and representation. Perhaps I can go so far as to present the notion of an alter-ego to architectural history as well.
I would like to begin this "alter-ego" virtual museum through presenting any number fo cad models distortions and collisions. These new "models" will in turn offer the opportunity to create and engage in new architectural environments that will come to represent a totally new and unprecedented world of architecture--and an infinite new world at that.
I guess this alter-ego museum will most resemble schizophrenia + architectures in that really anything will go there. I can actively indulge in taking up any of the more unconventional ideas and take them to whatever mean or extreme I so choose. Perhaps the correct term for this other Quondam place is super-ego Quondam, a place where architecture enjoys the virtuality of digital infinitude.
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1999.05.08
cutting-edge design
I often think of going crazy with using my CAD models, but I have yet to do so. Moreover, I am just now also beginning to wonder how I might address the recent topological approach to architecture as well. The only ideas I have so far involve a combination of digital terrain and existing models and Corbusian principles. I also have the idea of applying existing perspective details and even composite opaque surfaces to any variety of building model surfaces.
As I'm writing this note, I'm thinking of many other new ways that I can generate weird geometries:
1. use solid rotate, but not using the normal polar axis of rotation--I suspect that angled axes will create very wierd latticed geometrics, and if the rotated line segment is also angled, then the produced variety of shapes is all the more infinite.
2. use solid extrude, but again not using the line of extrusion in a strict polar fashion. Moreover, the original lines being extruded do not have to be on the same flat plane either.
3. begin to exaggeratingly distort my existing models, e.g., spread them out far and wide to create whole new terrains (upon which to place new new buildings and/or environments). Of course, playing with (reducing) the z factor will also come into play.
4. extrude and rotate wireframes that are already in 3D -- this may prove to be completely ground-breaking, and even revolutionary.
With these four new ideas alone, I have substantially increased the notion of Quondam's infinite collection as well as substantially increased my capacity to create very formally inventive designs--models I didn't even think were possible for me to produce before.
I'm already thinking that Quondam begins 2000 with an exhibit entitled "an infinite collection", and all I have to do is display one new collection of forms after another. I'm also thinking that this new breed of model formation and manipulation is how I create Ottopia in 3D.
1999.05.16
3D play
I played today, for a couple of hours, withthe 3D rotate area command and the results were very good. I am now indeed inspired to experiment/play with much more intent. I am thinking that I may with further practice actually master the process and in turn begin to create cutting-edge designs.
I will first off employ the command in the regular plan view--this will allow me the greatest ease of creative working and afford me the easiest use of my plan data and new contour drawing. Additionally, I will make full use of color differentiation for easy data separation. I have the feeling that I am going to generate a great many 3D forms.
Once I have created the forms, I will begin applying them to my other models, especially the Philadelphia model. I am also thinking that I could incorporate the free forms into a whole new design motif/style, i.e., and oddball mixture of topology and wacko and traditional. I think I can pull it off, but actually I'm not sure yet. I'll just have to experiment.
While playing with form creation and then creating h-lines, I started to wonder if the odd overlay and tangle of grids might make some sort of interesting plan formation. The possibilities for me to use this new data creation are numerous. Eventually, I think it would be fantasitc to create a whole city of these forms.
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1999.05.20
very encouraged - gallery 1999
maison millennium?? will end with my jumbling up the current model, and also adding some rotation/extrusion data to the mix.
1999.05.27
interview 2.1ab
Re Quondam: I have been constructing computer models of unbuilt designs since 1987. At the time I was a rare 3D cad specialist and I had my own cad system to do with what I wanted. I wanted to see what certain unbuilt designs were like, so I built computer models of them. By the early 1990s, I looked upon my model building activity as generating a kind of museum of architecture. By 1996, I had accumulated a sizable collection and saw opportunity in the internet of (finally) creating an actual virtual museum of architecture, so that's what I did.
1999.06.14 12:21
interview 2.6
When I began constructing 3D cad models of unbuilt architectural designs in the mid 1980s, I inaugurated a whole new way of studying architecture, specifically the study of built or buildable form through 3-dimensional drawing. In creating the models I was simultaneously enacting an architectural
self-education, and since I was specifically constructing buildings that were never built, I was (self) learning lessons that did not even exist in the real world, yet, nonetheless, the lessons were purely about architecture. So besides all the buildings I've looked at and all the books I've read, I've also been influenced by some buildings that do not even exist. At this point, Quondam, in all that it offers, is probably the best overall reflection of my "architectural" mind, i.e., Quondam discloses a large portion of my architectural dispositions. Quondam is not a complete reflection of my architectural mind/brain, however.
Constructing 3d cad models of unbuilt architectural designs added significantly to my architectural (self) education. Cad has also allowed me to 'reenact' Piranesi's drawing of the Campo Marzio. Because of my 'experimentations' with cad, I was able to found Quondam.
1999.07.02
ideas
Lauf additions to Venturi has "domino" effect -- this has to do with announcing my redux of the Absecon House. I am already working on this utilizing the "maison millennium" data, and it is now part of Ottopia -- the house at Virginia Beach.
1999.07.14
the pleasure of (being lost in translation) architecture
tom lenar states and asks:
This post immediately reminded me of Marcos Novak's contribution to The Art of the Accident. (ISBN: 90-5662-090-8 for those interested). I'm curious to know if your experiment was an emulation of Novak's, and what you may have been seeking through its execution?
steve replies:
Although I know Marcos Novak's name and his relationship with theories of cyberspace(?), I am only marginally knowledgeable of his written work -- I believe I read an essay of his in Perrella's Hypersurface Architecture, and I have visited his (dated) website. I do not know his contribution to The Art of the Accident, and therefore my experiment was not in emulation of Novak's (experiment?).
I do know what I was seeking, however.
I like the notion of quick and easy art.
I like to (literally) go to all the edges in my art.
I enjoy the process of making art.
I like my art best when it is unedited.
(I don't like to frame my art.)
I like computers to do work for me.
A lot of my art uses computers and automation in unprescribed ways.
I like the notion of quick and easy (computer doing the work) art.
I believe computers give all of us a new and additional dexterity.
The translation experiment was done quickly and easily.
The translation experiment investigated some limits (edges, margins) of the translation program.
Translating back and forth between languages used automation in an unprescribed way.
The tools you use effect the way you think, and the way you think effects the way you use tools.
Les outils vous utilisez l'effet la voie que vous pensez, et la voie vous pensez des effets la voie vous utilisez des outils.
The tools you use the effect the way which you think, and the way you think of the effects the way you use tools.
Die Hilfsmittel verwenden Sie den Effekt die Weise, die Sie denken, und die Weise, die Sie an die Effekte die Weise denken, Sie Hilfsmittel benutzen.
The aids use you the effect the way, which you think, and which you use way, which you think of the effects the way, aids.
I sussidi li usano l' effetto il modo, che pensate e che usate il modo, che pensate agli effetti il modo, sussidi.
The subsidies use them the effect the way, than thoughts and that used the way, than thoughts to the effects the way, subsidies.
Os subs-dios usam-nos o efeito a maneira, do que os pensamentos e aquele usaram a maneira, do que pensamentos aos efeitos a maneira, subs-dios.
The subsidies use them the effect the way, the one that the thoughts and that one had used the way, the one that thoughts to the effect the way, subsidies.
Los subsidios los utilizan el efecto la manera, la que los pensamientos y que uno hab-an utilizado la manera, la que los pensamientos al efecto la manera, subsidios.
The subsidies use the effect the way, the one that the thoughts and that one had used the way, the one that the thoughts to the effect the way, subsidies.
Besides, I already said that I did the experiment in conjunction with schizophrenia + architectures xxx.htm, and if you want to see what the "art of the accident" has to do with schizophrenia + architectures see xxx.htm.
yours truly,
the latter half of the brothers metabolic
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