AFTERGLOW Adonijah Campbell Richard Desjardins Ashton Schlundt
The “Afterglow” Project develops a method of making light drawing more precise through the use parametrically programmed design paths. Traditional methods of light drawing rely on the movement of sparklers or flashlights. They produce active images which show the passage of time within the resulting long exposed photograph. This method however, leaves room for unseen imperfections due to no live time results along with a lack of replicability. Design is based on the tools and materials we use to create projects. The objective is to create dynamic three dimensional light models by experimenting with multiple lamps, colors, movement, and speeds and fully utilizing the abilities of the robotic arm. By using light as a material, the tool will form itself around how it must craft the most successful light model. The use of the six-axes of the robotic arm animates the two dimensional rhino illustrations and brings them into a three dimensional space. By programming the robotic arm, designs that cannot be achieved due to the limitations of the human body’s range of motion are made possible through precise movements with the arm. Robotic arms allow users to make minor adjustments quickly when trying to improve a drawing’s composition without compromising the original drawing’s structure. The use of photography allows photos to be layered to add more depth to the designs created. Long exposure photographs display the performance of the robot producing these models in space. The camera lens thus becomes the surface due to it being the deciding factor of where the image is taken. The position of the camera in space matters as much as the path of the robotic arm itself.
SCI-Arc
Picasso
Eric Staller Citroen
The goal is to rethink how architects approach and consider digital tools such as hyperrealistic renderings, algorithm design, and 3D printing. The robotic arm allows to design freely from the constraints of conventional drawing types and physical models and to cross the digital and physical realms. Through a pre-programmed path and long exposure, the digital becomes physical as the arm moves various tools projecting light through space. The creation of a still image through long exposure demonstrates the capturing of movement in space and time signified by a light source.
Known as the “light innovator”, photographer Gjon Mili set out to conduct a fifteen minute experiment photographing the artist Pablo Picasso drawing in space with a singular electric light at the end of a stick. By leaving the shutters of his cameras open, Mili captured Picasso’s movement in space and time that would have otherwise vanished like a flash in the darkness and without a trace. The experiment was so successful that Picasso agreed to five more sessions and projected thirty different drawings in space. This series of photographs became famously known as Picasso’s “light drawings”.
Photographer Eric Staller took to the streets of New York City at night capturing images of ordinary blocks. Through long exposure and a 4th of July sparkler, Staller traced the cities everyday objects, illuminating their forms and highlighting their existence through only streaks of light. Limited by the sparkler, there was only a minute to perform his movement through space and time so planning and speed where key. All that was left was the still image and a trail of “liquid fire” as Staller puts.
Drawing with light has always been experimented with throughout history. By introducing this method into the field of robotics, light drawings thus become replicable three dimensional models.
SIMPLE PATH
LUCY’S SELF PORTRAIT
LUCY DRAWS THE SOUND SHE MAKES
ARDUINO CODE
GRASSHOPPER SCRIPTS
AXON OF SIMPLE PATH
BLINKING LED
IMPERIAL MARCH
REACTION TO SOUND
GYRO