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VINCENZO REALE AUTHOR

PORTFOLIO TITLE


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EDUCATION / WORK

DATES: ORGANIZATION: INTERNATIONAL L.: QUALIFICATION :

DATES: ORGANIZATION: CURRICULUM VITAE DETAIL NAME : VINCENZO REALE D.O.B. : 1984/08/19 NAT. : ITALIAN GND. : MALE

ADDITIONAL

EDUCATION:

INTERNATIONAL L.: QUALIFICATION :

DATES: ORGANIZATION: QUALIFICATION:

WORKSHOPS: 1998-2003 LICEO SCIENTIFICO A.RIGHI (SECONDARY SCHOOL) 76 P.ZZA ALDO MORO, 47521 CESENA (CESENA) 3A SCIENTIFIC LYCEUM DIPLOMA (100/100 CUM LAUDE)

DATES: NAME: ORGANIZATION: TOPICS:

01/2009 DG.TA.(DIGITAL TOOLS FOR ARCHITECTURE) UNIVERSITÀ DI BOLOGNA (UNIVERSITY) DIGITAL TOOLS FOR ARCHITECTURE, SPECIfiCALLY RHINOSCRIPT AND GRASSHOPPER.

2003-2010 UNIVERSITÀ DEGLI STUDI DI BOLOGNA (UNIVERSITY) 2 VIA DEL RISORGIMENTO, 40136 BOLOGNA (ITALY) 5A 5 YEARS MASTER DEGREE IN BUILDING AND ARCHITECTURAL ENGINEERING 110/110 CUM LAUDE THESIS TITLE: “TENSIONAL INTEGRITY AND INTENSIVE CONNECTIONS IN PONTELUNGO PARK, BOLOGNA” KEYWORDS: PARAMETRIC ARCHITECTURES. LANDSCAPE. FIELDS OF INTERACTION. TENSIONAL INTEGRITY. ELEGANCE. THESIS SUPERVISORS: ENG. ALESSIO ERIOLI (UNIVERSITY OF BOLOGNA) ENG. GABRIELE GIACOBAZZI (UNIVERSITY OF BOLOGNA) ARCH. LUDOVICO LOMBARDI (UNIVERSITY COLLEGE LONDON / ZAHA HADID ARCHITECTS)

DATES: NAME: ORGANIZATION: TOPICS:

05/2009 AAST: BENTLEY GENERATIVE COMPONENTS AAST (ADVANCED ARCHITECTURE SETTIMO TOKYO) DESIGN WORKSHOP WITH BENTLEY GENERATIVE COMPONENTS SOFTWARE.

DATES: NAME: ORGANIZATION:

12/2009 CONNECTIONS UNIVERSITÀ DI BOLOGNA (UNIVERSITY) IN COLLABORATION WITH ARCH. STEFANO CECCOTTO (SOM SENIOR ARCHITECT) STUDY OF CONTEMPORARY CITIES DYNAMICS.

2010 ORDINE DEGLI INGEGNERI DI BOLOGNA 13 STRADA MAGGIORE, 40125 BOLOGNA (ITALY) PROFESSIONAL ENGINEER QUALIFICATION

WORK:

TOPICS:

DATES: NAME: ORGANIZATION: TOPICS:

COMPETITIONS:

DATES: EMPLOYER: SECTOR: OCCUPATION:

ONGOING EDGELAB S DESIGN NETWORK FREELANCE DESIGNER / ENGINEER

DATES: EMPLOYER: SECTOR: OCCUPATION: MAIN ACTIVITIES:

01/03/2010 -15/05/2010 BOLOGNA MUNICIPALITY, BOLOGNA (ITALY) LOCAL GOVERNMENT DESIGNER, TUTOR REDESIGN OF PONTELUNGO’S PARK SPACES (BOLOGNA ITALY) AND LEADING TUTOR OF PARTECIPATORY WORKSHOP WITH INHABITANTS

DATES: NAME: ORGANIZATION: TOPICS:

01/10/2008 - 01/01/2009 UNDERGROUNDSTUDIO ARCHITECTURE OFFICE INTERNSHIP EMPLOYER PROJECT DESIGN AND MASTERPLAN DEfiNITION NEW MODENA’S TRANSPORT SYSTEM HUB.

DATES: EMPLOYER:

2008 - 2009 FONTANA MIX ENSEMBLE IN COLLABORATION WITH TEATRO COMUNALE BOLOGNA AND UNIVERSITY'S DEPARTMENT OF MUSIC CONTEMPORARY MUSIC PRODUCTION VIDEO-DESIGNER DESIGN AND SET OF VIDEO INSTALLATION FOR CONTEMPORARY MUSIC EVENT

DATES: EMPLOYER: SECTOR: OCCUPATION: MAIN ACTIVITIES:

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DATES: NAME: ORGANIZATION: TOPICS:

DATES: EMPLOYER: SECTOR: OCCUPATION: MAIN ACTIVITIES:

SECTOR: OCCUPATION: MAIN ACTIVITIES:

02/2010 ELEGANT ECOTONES UNIVERSITÀ DI BOLOGNA (UNIVERSITY) GRASSHOPPER WORKSHOP LEVEL I – PARAMETRIC & GENERATIVE DESIGN.

05/2008 CO4 INTERNAL COMPETITION, UNIVERSITY OF BOLOGNA, ARCHITECTURE AND ARCHITECTURAL COMPOSITION DESIGN OF MODENA RAILWAY STATION SPECIAL MENTION FOR “THE GENUINE AND INNOVATIVE APPROACH TO THE MORPHOGENESIS OF THE PROJECT”.

10/2009 UPTO35 INTERNATIONAL COMPETITION FOR ARCHITECTS OLIAROS, GREECE STUDENT HOUSING IN ATHENS, MASTERPLAN AND DESIGN PROJECT PUBLISHED ON COMPETITION’S CATALOGUE.

OF

2003 - 2009 STOA- SOCIETÀS RAFFAELLO SANZIO, THEATRE COMPANY PERFORMER / DIRECTOR PERFORMER OF STOA + SET FOR EXPERIMENTAL THEATRICAL WORKS (DIRECTION, SET, LIGHTING, COSTUMES, SPACE AND SOUND PROJECT) (“0BJECTS IN THE MIRROR ARE CLOSER THAN THEY APPEAR” 2006)

DATES: NAME: ORGANIZATION: TOPICS:

04/2010 A HOUSE IN LUANDA – PATIO AND PAVILLION TRIENAL DE ARQUITECTURA DE LISBOA, PORTUGAL DESIGN A SINGLE FAMILY DWELLING FOR LUANDA, A CITY WHICH IS UNDER EXTREME DEMOGRAPHIC PRESSURE AND IS UNDERGOING AN INTENSE PROCESS OF TRANSFORMATION, INCLUDING THE POSSIBILITY OF DWELLINGS THAT ALLOW FOR EVOLUTIONARY SOLUTIONS, AND POSSIBLY SELF-CONSTRUCTION, WHICH ARE THEREFORE ADAPTED TO THE SPEED OF TRANSFORMATION OF THE SOCIAL FABRIC OF ANGOLA.

DATES: NAME: ORGANIZATION: TOPICS:

10/2010 72HOURS URBAN ACTION BAT YAM BIENNALE OF LANDSCAPE URBANISM, ISRAEL THE FIRST REAL-TIME ARCHITECTURE COMPETITION, DEFINED BY COMMUNITY NEED, AN EXTREME DEADLINE, A TIGHT BUDGET AND LIMITED SPACE. GRANTED ADMISSION AND PARTICIPATED AS ONE OF THE TEAM LEADERS.

DATES: NAME: ORGANIZATION: TOPICS:

11/2010 (ONGOING) EVOLO SKYSCRAPER COMPETITION EVOLO ONLINE MAGAZINE THE AIM OF THIS COMPETITION IS TO REDEFINE WHAT WE UNDERSTAND AS A SKYSCRAPER AND INITIATE A NEW ARCHITECTURAL DISCOURSE OF ECONOMIC, ENVIRONMENTAL, INTELLECTUAL, AND PERCEPTUAL RESPONSIBILITY THAT COULD ULTIMATELY MODIFY OUR CITIES AND IMPROVE OUR WAY OF LIFE. THE USE OF NEW MATERIALS, TECHNOLOGIES, AESTHETICS, AND NOVEL SPATIAL ORGANIZATIONS, ALONG WITH STUDIES ON GLOBALIZATION, FLEXIBILITY, ADAPTABILITY, AND THE DIGITAL REVOLUTION ARE SOME OF THE MULTI-LAYERED ELEMENTS THAT THE PARTICIPANTS SHOULD TAKE INTO CONSIDERATION.

ARCHITECT DESIGNER ENGINEER DESIRED EMPLOYMENT


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: 2010 : RESEARCH

INTERACTIONS [ SCRIPTING TECHNIQUES AND DIGITAL DESIGN ]

DGTAG& DIG.T.A. FEATURED BY


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TITLE / OBJECT INTERACTIONS [ SCRIPTING TECHNIQUES AND DIGITAL DESIGN ] FEATURED BY DGTAG& DIG.T.A.

DETAIL YEAR TYPE

SOFTWARE .RHINOSCRIPT

SURFACES

THIS IS A COLLECTION OF SURFACE DESIGN / INTERACTIONS (RHINOSCRIPT CODES) I HAVE FIRSTLY DEVELOPED FOR THE UNIVERSITY'S WORKSHOP “DIG.T.A.” . MY FIRST IDEA WAS TO HAVE THE SAME SURFACES BUT SCRIPTED IN A CLEVER WAY, EVENTUALLY ALL OF THEM "PRINTABLE" (A) BUT I SPENT SOME TIME TO OPTIMIZE AND MAKE SOME NEW OF THEM (B). ACTUALLY THE WHOLE PROCESS (CONSIDERING THE RENDER PART) TOOK ME A WEEK (7-DAYS WORKING) BUT THE SCRIPTING PART WAS QUITE FAST (3 DAYS AND AN HALF).

: 2010 : RESEARCH

ANGLE : 450° MAX DIAM : 2.5 END LENGTH : 1/3

ANGLE : 810° MAX DIAM : 2 END LENGTH : 1/4

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FIRST OF ALL I MANAGED TO CREATE A SURFACE EDITOR, IN ORDER TO CHOOSE A SURFACE TO “TESSELLATE” OR EITHER INSERT AN EQUATION AND ITS DOMINION AND LET THE SCRIPT CREATE THE SURFACE ITSELF. THEN I DECIDED TO TRANSFORM THE SURFACE CREATING CUBES ON IT WITH DIFFERENT HEIGHTS, AND THE HEIGHT OF EACH CUBE SHOULD BE RANDOMIZE. THE DIFFICULT TASK WAS NOW TO CREATE THE NON-MANIFOLD CLOSED SURFACES BECAUSE EACH OF THE CUBE SHOULD HAVE LATERAL AND NON-OVERLAPPING FACES. I MANAGED TO DO IT THIS WAY: FIRST DEFINING THE BOTTOM AND TOP SURFACES AND THEIR POINTS, THEN DRAWING LATERAL FACES WITHIN THE POINTS.

TESSELATION 03 ATTRACTOR_HOLES PRINTABLE

THEN SOME VARIATION: HAVING HOLES INSIDE THE CUBES (AND STILL LET THE SURFACE BE PRINTABLE) AND ALSO LINK THE SIZE OF THE HOLES TO THE PROXIMITY WITH ONE OR MORE ATTRACTION POINTS. AFTER THAT ANOTHER SURFACE WITH HEXAGONAL HOLES, AND, IN THE END, A SIMPLE HONEYCOMB SURFACE.

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ANGLE : 200 MAX DIAM : 3 END LENGTH : 1/5

ANGLE : 360 MAX DIAM : 2 END LENGTH : 1/3

WHILE I WAS WORKING A FRIENDS OF MINE SHOWED ME SOME PICTURES FROM THE WORKS OF THE PHOTOGRAPHER KARL BLOSSFELD, MADE IN THE EARLY 1900S, AND I THOUGHT TO INSERT ANOTHER ELEMENT TO THE TESSELLATION, A STEM-LIKE ELEMENT, AND TO MAKE IT REACTIVE TO THE ATTRACTION POINTS. SO I DEFINED A DESIGN FOR THE UPPER PART OF THE FLOWER WITH THESE TWO SECTION ROTATING ALONG AN AXIS (CHANGING PROPORTION, ANGLE OF ROTATION, DIAMETER OF ELEMENTS).

TESSELATION 03

TESSSELATION 04

TESSSELATION 06

RANDOM PRINTABLE

HEXAGONAL HOLES PRINTABLE

HONEYCOMB PRINTABLE

I LIKED THE WAY I DID THE FLOWER PART, IT MADE ME THINK OF SOMETHING LIKE A TOWER. SO I MADE THREE SIMPLE SCRIPTS THAT CREATE A SET OF THESE TOWERS ALONG A SURFACE. THE FIRST SIMPLY PUT THEM IN A GEOMETRICAL ORDER (SCALING THEM BY POSITION ON THE SURFACE), THE SECOND USE LINK THE GROW TO THE DISTANCE FROM ATTRACTOR POINTS, AND THE THIRD MADE GENERATIONS OF TOWER USING THE RULES OF CELLULAR AUTOMATA (A RECURSIVE SCRIPT WHERE YOU PUT SOME RULES FOR EVERY POINT/ELEMENT) AND MAKING THEM BIGGER THE BIGGER THE “COLONY” IS.

A) TO BE "PRINTABLE" BY SOMEONE WHO OWNS A 3D PRINTER THE MODEL MUST BE "NON MANIFOLDS". IT MEANS THAT EVERY CORNER OF YOUR SOLID MUST BE SHARED BY TWO AND ONLY TWO MESHES.

01_REPULSOR 02_ATTRACTORS

(B) IT IS VERY EASY TO LOSE CONTROL OF WHAT ARE YOU DOING WHILE YOU SCRIPT. TO BE CLEAR I STRONGLY BELIEVE WE SHOULD UNDERSTAND THIS BASIC CONCEPT "SCRIPTING COULD FREE YOU FROM THE SLAVERY OF CAD TOOL'S INTERFACES AND LIMITS, BUT REMEMBER NOT TO BECOME SLAVE OF SCRIPTING". NAMELY ALWAYS REMEMBER THAT IN EVERYTHING THAT INVOLVES CREATIVITY (FROM CUTTING YOUR HAIRS AND COOKING FOR FRIENDS TO DRAFTING, SKETCHING, DRAWING, WRITING, ARCHITECTURING SOMETHING) WHAT REALLY MATTER IS NOT THE TOOL YOU USE, IT IS NOT HOW COOL IS YOUR SCISSORS, POTS, SKETCHBOOK, LAPTOP ETC.. BUT THE IDEA THAT STANDS UNDERNEATH WHAT YOU ARE DOING. AND EVEN IF THE PROCESS IS A COOL PROCESS THIS COULD LEAD YOU TO A NOT SO CLEVER/INTERESTING/ASTONISHING OUTPUT. I COULD SAY WHAT MATTER IS AN IDEA THAT SUCCEEDS IN BECOMING A CREATIVE / INTERESTING / ASTONISHING OUTPUT. A PROFESSOR I HAD THE FORTUNE TO MEET TOLD ME, CHANGING AN OLD MOTTO THAT "IN OUR JOB WE JUDGE THE BOOK BY ITS COVER". IT IS NOT AN EASY PROCESS.. [CONTINUES]

IN.01 PAGE.03 COUNTER

SPREADING

GLYMPSES


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SOFTWARE .RHINOSCRIPT

: 2010 : RESEARCH

BLOOMING SURFACE

INTERACTIONS

ATTRACTORS

NOW THE PROBLEM OF HAVING A SURFACE BLOOMING WITH THOSE KIND OF FLOWERS HAD TO BE SUBDIVIDED IN STEPS. FIRSTLY: DEFINING THE STEM PART, THAT IS DEFINING A CURVE (EVENTUALLY UNDER THE INFLUENCE OF SOME ATTRACTORS) AND THE SECTIONS FOR EACH STEPS OF THE CURVE. THE DIFFICULT TASK IN THIS PART WAS TO DEFINE THESE SECTIONS WITHOUT LOSING THEIR ORIGINAL SHAPE. SO I DEFINED THE RELATIVE POSITION OF THE SECTION POINTS AT THE START OF THE CURVE, AND KEPT IT WHILE TRANSLATING THE DIFFERENT SECTIONS. I ALSO ADDED THE POSSIBILITY TO CHANGE THE SCALE OF THE SECTIONS. IN THE END I DESIGNED THE TOP PART AND VERIFIED THAT ALL THE “FLOWER” WERE CLOSED AND PRINTABLE. AFTER ALL THESE STEP I HAD TO INSERT THIS CODE INTO THE PREVIOUS ONE, AND CHECK ALL THE VARIABLES. 1.ANOTHER IMPORTANT ASPECT OF DIGITAL TOOLS IS THAT YOU CAN GET SOMETHING UNEXPECTED, AND (SOMETIMES) IT COULD LOOKS A GOOD SOLUTION. SO YOU CAN USE SCRIPTING ALSO FOR RESEARCHING SOLUTION. BUT I RECOMMEND NOT TO RELY TOO MUCH ON IT. IN OTHER WORDS I THINK WHEN YOU TAKE THIS KIND OF APPROACH YOU SHOULD PLAN IN A VERY STRICT WAY THE “RULES OF THE GAME” AND THEN RUN THE SCRIPT WATCHING DIFFERENT NON-PREDICTABLE WAY TO SOLVE THE PROBLEM AND THE POSSIBLE VARIATIONS. I THINK THE PROCESS WILL BE MORE FERTILE THE MORE YOU LIMIT/DEFINE THE RANDOM PART. THEN YOU CAN COME WITH VERY INTERESTING RESULTS 2.MY APPROACH (TAKING THE PICTURE OF A FLOWER AND PUTTING IT INSIDE THE SCRIPT JUST TO LOOK IT NICE) IS OBVIOUSLY JUST AN EXPLANATION OF A PROCESS AND IN ANY WAY I BELIEVE THIS CAN LEAD TO SOMETHING INTERESTING IN THE FIELD OF ARCHITECTURE. THE MAIN REASON YOU SEE PLENTY OF PEOPLE LOOKING AT NATURAL SYSTEM AND TRYING TO TRANSLATE THEM INTO ARCHITECTURE WITH DIGITAL TOOLS IS BECAUSE WE CAN RECOGNIZE THAT NATURAL SYSTEMS ARE COHERENT SYSTEMS WHERE THE FUNCTION AND THE ORNAMENTS COME TOGETHER TO DEFINE THE FORM OF THE STRUCTURES. SO I WOULD LOOK TO A FLOWER AND TRYING TO TRANSLATE THE SPATIAL FEELINGS THAT THE ENVELOPE OF PETALS CREATES AND HOW ITS FORMS INTERACT WITH ALL THE OTHER NATURAL SYSTEMS AND HOW THE PETALS GET STRONGER AND THICKER IN THE REGIONS NEAR THE STEMS. IN THE END I COULD HAVE AN ARCHITECTURE THAT COMPLETELY DOES NOT LOOK LIKE A FLOWER BUT HAS THE SAME BEHAVIOUR AND THE SAME STRONG POINTS, AS WELL AS THE SAME ELEGANCE (THE ELEGANCE DOES NOT COME WITHOUT SUBTLE BUT OMNIPRESENT RULES). THIS IS A DIFFERENCE BETWEEN MIMETIC ARCHITECTURE AND A DEEPER APPROACH TO NATURE AND DIGITAL TOOLS.

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STEPS

INTERACTIONS


SPATIAL PATTERN

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ANOTHER SERIES OF EXPERIMENTS ON POROSITY AND SURFACE TESSELLATION. IN THE FIRST THROUGH A SERIES OF SENSITIVE POINTS, THE SPACE IS DIVIDED WITH A VORONOI ALGORITHM TO CREATE A MESH WHOSE POROSITY IS RELATED TO THE DISTANCE BETWEEN POINTS. A SECOND LEVEL OF PERMEABILITY IS OBTAINED BY SATURATING THE SPACES OF THE MAIN MESH BY THE INTERNAL ELEMENTS, WHOSE DENSITY IS DEFINED BY A SIMPLE GRADIENT (OVER A CERTAIN DISTANCE FROM THE CORNER POINT THEY ARE NO LONGER PRODUCED).

TITLE / OBJECT INTERACTIONS [ SCRIPTING TECHNIQUES AND DIGITAL DESIGN ] FEATURED BY DGTAG& DIG.T.A.

DETAIL YEAR TYPE

ADDITIONAL

: 2010 : RESEARCH

THEN A SERIES OF SURFACE TESSELLATIONS. THE GOAL IS TO CREATE SIMPLE COMPONENTS, TO THE LIMIT PLANS, WHICH, USING AN ASSESSMENT OF INTERACTIONS BETWEEN THE SURFACE AND A FORCE FIELD (E.G. SOLAR RADIATION), LEAD TO AN OPTIMAL PERFORMANCE OF THE STRUCTURE. THE ANALYSIS WAS CARRIED OUT FIRSTLY THROUGH COLLABORATION BETWEEN ECOTECT AND GRASSHOPPER / GECKO, AND SECONDLY THROUGH A SIMULATION OF SOLAR ARC AND A COMPONENTS’ MODIFICATION ENTIRELY WITHIN GENERATIVE COMPONENTS.

SOFTWARE .RHINOSCRIPT .GENERATIVE COMPONENTS

THE FIRST COMPONENT DEVELOPED WITH GC IS MADE BY SIMPLE OVERLAPPING BLADES, WHICH CREATE A SORT OF SHIELDING TO THE OPENING BANDS, ALSO CHANGING THE ANGLE OF VIEW OF THOSE INSIDE THE STRUCTURE. THE OTHER IS MODELLED AS A SORT OF CAMERA SHUTTER THAT MANAGES TO HAVE A VARIATION NOT ONLY FROM 0 TO 1, BUT FROM 1 TO -1, ALLOWING IN FACT A FULLY RETRACTED CONFIGURATION.

VORONOI PATTERN

THROUGH RHINOSCRIPT I HAVE INSTEAD ANALYZED THE AESTHETIC AND FUNCTIONAL POTENTIALITIES OF A SIMPLER COMPONENT, RECTANGULAR WITH RECTANGULAR HOLES, BUT PROJECTED DIRECTLY ONTO THE SURFACE, ENSURING THAT THE TESSELLATION DOES NOT CHANGE THE EXACT SHAPE OF THE SURFACE (APPROXIMATING IT), BUT AS A SERIES OF PANELS THAT KEEPS THE CURVATURE OF THE OBJECT.

01_TESSELATION

02_TESSELATION

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SURFACE PATTERN

SOLAR RADIATION

SURFACE


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: 2009 : UNIVERSITY PROJECT : ARCHITECTURE AND ARCHITECTURAL COMPOSITION 3

CONNECTIONS.01 [ NEW SUBWAY TRANSPORT SYSTEM, BOLOGNA ]

C1.00 PAGE.06 UNIBO COUNTER

FEATURED BY


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TITLE / OBJECT CONNECTIONS.01 [ NEW SUBWAY TRANSPORT SYSTEM, BOLOGNA ]

: 2009 : UNIVERSITY PROJECT : ARCHITECTURE AND ARCHITECTURAL COMPOSITION 3

DEPOSITO

MICHELINO

SAN DONATO

FIERA - REGIONE

LIBERAZIONE

BOLOGNINA STAZIONE FS VIII AGOSTO PIAZZA MAGGIORE

UGO BASSI

RIVA RENO

PORTA SAFFI

MALVASIA

OSPEDALE MAGGIORE

PRATI DI CAPRARA

UNDEFINED DEFINED

UNIVERSITY STUDENTS TEACHERS RESEARCHER CONSULTANTS

MOMENT

SPEED DIFFUSION LIGHT

SEE

ART

TOURISM

MOTION

AMUSEMENT HEALTH

SPACE

VISIBILITY

CITY USERS HOLD

GALLERY

RESIDENTS WORKERS COMPANIES

SIGNAL VALUE EXCHANGE PROFIT

URBAN QUALITY

SHOPPING

ENTERTAINMENT

CULTURE

PUBLIC MOBILITY

INFORMATION

PARKING

PRATI DI CAPRARA

OSPEDALE MAGGIORE

MALVASIA

PORTA SAFFI

RIVA RENO

UGO BASSI

PIAZZA MAGGIORE

VIII AGOSTO

STAZIONE FS

BOLOGNINA

LIBERAZIONE

FIERA - REGIONE

SAN DONATO

MICHELINO

8000

FRM.023

FRM.04

0.4 GENERATING FORMS. CONSIDERING THE STOPS AS ELEMENTS WITH THE DUAL FUNCTION OF RECEPTACLE AND OF EXHIBITOR, PERMEABLE TO THE PASSAGE OF FREQUENT VISITORS AND USERS, ACCESSIBLE BUT AT THE SAME TIME POINTING OUT AND ENHANCING THEIR CONTENT, I STARTED WITH BASIC SHAPES OF CONTAINERS (SIMPLE PARALLELEPIPEDS) AND THEN MODELLED THEM IN ORDER TO SATISFY THE DIFFERENT DEMANDS. THIS PROCESS OCCURRED IN SUBSEQUENT STEPS BY THE 'COUPLING' OF TWO OR MORE TYPES TO GENERATE OTHER CHARACTERS WHO PRESERVE PREVIOUS ATTRIBUTES BUT SHOW ORIGINAL TRAITS. EACH STEP’S INCLUSION WAS TESTED IN A GIVEN CONTEXT (LANDSCAPE) AT THE SAME TIME. 0.5 PROLIFERATION. FROM DEFINED SHAPES, FULFILLING THE DEFINITION OF THE MAIN SPACES, OTHERS ARE RAISED (MUTATIONS), HIERARCHICALLY SECONDARY, TO CHARACTERIZE THE DIFFUSION OF THE PROJECT THROUGHOUT THE CONTEXT. FOR THESE AND THE PREVIOUS ONES THE PERMEABILITY REMAINS ALWAYS AN ATTRIBUTE, EVEN DECLINED IN DESIGNING A COATING THAT MAINTAINS THE VISIBILITY AND THE UNIQUENESS OF THE FORM IN THE URBAN CONTEXT.

MUT.00

6000

5000

4000

3000

2000

C1.01 PAGE.07 CORRELATIONS / NEEDS / INFLOWS

FRM.022

COUNTER

FRM.03

FRM.05

7000

COUNTER

FRM.00

0.2 IMPLICIT CORRELATIONS. THE MAIN ISSUES ARE THEN THE ART ONE, THE GALLERY AND THE SPREADING THROUGHOUT THE CITY. WHILE ART REMAINS CENTRAL, THE SPREADING AND THE GALLERY ARE CLOSELY RELATED TO A PHYSICAL SPACE. FROM THE VARIOUS COMBINATIONS DIFFERENT CONTRADICTIONS ARE HIGHLIGHTED: THE DEFINED SHAPE BECOMES INDETERMINATE IN THE MOTION, THE TRADE OF THE ART’S PIECES BECOMES ENHANCE OF ART’S WORK. 0.3 INFLOWS. QUANTIFICATION OF ACCESS DURING THE DAY EXPRESSED AS THE SUM OF PASSENGERS GETTING ON AND OFF FOR EACH STOP. IT SHOWS THAT THE STATIONS CLOSER TO THE CITY CENTRE ARE MORE LOADED, IN PARTICULAR THOSE OF THE STATION FORECOURT AND “VIII AGOSTO” SQUARE ONES, DUE TO THE PRESENCE OF INTERCHANGE WITH OTHER MEANS OF TRANSPORT (TRAINS, VEHICULAR TRAFFIC, PARKING) (DATA FROM THE TOWN COUNCIL HALL’S OFFICE, JANUARY 2006 )

SHAPE

FRM.01

0.1 THE USERS’ NEEDS. WE CAN IDENTIFY THREE TYPES OF USER FOR THE PROJECT: THE UNIVERSITY’S, THE TOURISM’S AND THE CITY USERS’ ONE (WORKING AND LIVING INSIDE THE CITY). WE TRY TO ASSUME THE DIFFERENT NEEDS THAT WILL ORGANIZE AND JUSTIFY CHOICES IN SECONDARY PROCESSES OF DESIGN. WHILE EACH USER IS MORE SENSITIVE TO A PARTICULAR NEED, THE CULTURAL AND ENTERTAINMENT FACTOR IS WIDESPREAD, BECAUSE IT ALSO AIMS TO IMPROVE THE QUALITY OF URBAN LIFE. THEREFORE IT SEEMS POSSIBLE TO INTEGRATE THE TRANSPORTATION PROJECT WITH A LARGER PROJECT OF RENEWAL THAT WILL INTERFACE TO THE WORLD OF CULTURE AND ART.

FEATURED BY UNIBO

DETAIL YEAR TYPE COURSE

GENERATING FORMS

0.0 PROJECT FOR SUBWAY AND TRAMWAY TRANSPORTATION SYSTEM. CITY OF BOLOGNA LINE 1. TOTAL LENGTH OF 11.8 KM, 6.5 UNDERGROUND, 24 TOTAL STOPS (12 UNDERGROUND AND 12 ON SURFACE). HOURLY CAPACITY OF APPROXIMATELY 6600 / 7200 PPHPD. HIGHLIGHTS: UNDERGROUND LINE (FROM “FIERA” DEPOT UP TO “OSPEDALE MAGGIORE”)

PROLIFERATIONS

MUT.01

MUT.02


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.PIAZZA VIII AGOSTO THE STATION IS AMONG THOSE REGISTERING THE HIGHEST NUMBER OF ACCESSES ACCORDING TO THE ESTIMATES OF THE MUNICIPALITY, BECAUSE OF THE PRESENCE OF AN UNDERGROUND PARKING. IN ADDITION TO THE MAIN BUILDING IN THE SOUTH-WEST CORNER OF THE SQUARE SOME "MUTATIONS" ARE DESIGNED, IN ORDER TO POINT OUT THE PARKING’S ENTRANCES (NORTH) AND TO COAT THE CENTRAL ELEMENT OF THE SQUARE (VENTILATION DEVICE).

CARDBOARD MODEL TITLE / OBJECT CONNECTIONS.01 [ NEW SUBWAY TRANSPORT SYSTEM, BOLOGNA ]

FEATURED BY UNIBO

DETAIL YEAR TYPE COURSE

INSIDE THE MAIN BUILDING TWO ELEVATOR AND TWO STAIRWAYS ARE PROVIDED TO CONVEY THE FLOWS DIRECTLY EITHER TO THE PARKING OR TO THE SUBWAY PLATFORM.

: 2009 : UNIVERSITY PROJECT : ARCHITECTURE AND ARCHITECTURAL COMPOSITION 3

THE CENTRAL SPACE IS HIGH AND WIDE TO ALLOW THE ORGANIZATION OF EVENTS AND THE EXHIBITION OF ART PIECES. THE 3D MODEL WAS DIVIDED AND UNWRAPPED WITH BLENDER, THEN THE FLAT PIECES WERE PRINTED, CUT AND ASSEMBLED.

CRITICAL A. NON OVERLAPPING B. CLOSE C. DEVELOPABLE ACCESS +

STH

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+ +

+

+ + +

+

+

+

+

+

+

V.01

V.02

V.03

V.04

0.15 m 0.00 m

0.00 m

0.15 m

0.00 m

0.00 m

C1.02 PAGE.08 COUNTER

MODEL OBJECT

MODEL

PLAN 0


OBJECT / TITLE

ADDITIONAL

PEQUOD

: HTTP://WWW.PQUOD.BLOGSPOT.COM/

FLICKR

: HTTP://WWW.FLICKR.COM/PHOTOS/REVINK/SETS/

ISSUU

: HTTP://ISSUU.COM/REVINK/DOCS/

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

TH.00 PAGE.09 COUNTER

(ISO) COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

SUCKERPUNCH SHAPEWAYS BLDG BLOG DIGITAG FEATURED BY


ADDITIONAL

PEQUOD

DRAFT

: HTTP://WWW.PQUOD.BLOGSPOT.COM/

FLICKR

: HTTP://WWW.FLICKR.COM/PHOTOS/REVINK/SETS/

ISSUU

: HTTP://ISSUU.COM/REVINK/DOCS/

TITLE / OBJECT (ISO)COMMUNICATION TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

ISO: A COMBINING FORM MEANING “EQUAL,” USED IN THE FORMATION OF COMPOUND WORDS: ISOCHROMATIC; [..] COMMUNICATION: A PROCESS BY WHICH INFORMATION IS EXCHANGED THROUGH A COMMON SYSTEM OF SYMBOLS, SIGNS, OR BEHAVIOUR [..] THE VARIOUS METHODS OF SENDING INFORMATION BETWEEN PEOPLE AND PLACES. YOU MAY RECOGNIZE HOW THE LACK OR FAILURE OF "COMMUNICATION", INTENDED AS AN EXCHANGE OF INFORMATION AND DATA IN COMPLEX SYSTEMS, IS A POTENTIAL CAUSE OF THE PARALYSIS, STAGNATION OR NECROSIS OF THE SYSTEMS THEMSELVES. THE DEFINITION OF HYPER CONNECTED SYSTEMS, WHERE, EACH TIME A CHANNEL IS PREVENTED, OTHERS BECOME AUTOMATICALLY ACTIVATED AND COMPETITIVE, OR WHERE DIFFERENT CHANNELS OPERATE SIMULTANEOUSLY, EVEN IN NON-CRITICAL SITUATIONS, ENABLES THEM TO PROVIDE NOT ONLY OPTIMAL PERFORMANCES (ALBEIT POTENTIALLY LESS EFFECTIVE THAN A SINGLE “AD HOC” SOLUTION) BUT ALSO ADAPTABLE AND DYNAMIC RESPONSES TO OTHER EXTERNAL STIMULI, AND LEADS TO MORE GLOBALLY EFFICIENT SOLUTIONS. THE PARK (“PARCO DEI PINI”) IN PONTELUNGO (A SUBURB OF BOLOGNA) SHOWS A CHRONIC LACK OF COMMUNICATION BETWEEN THE PARTS THAT MAKE UP THE SYSTEM. SEVERAL CRITICAL ISSUES COME FROM THIS LACK (DEGRADATION, ABANDONMENT, SOCIAL DANGEROUSNESS, ETC. ...). THE GOAL THEN BECOMES TO DEFINE A SUSTAINABLE AND HIGHLY CONNECTED SYSTEM THAT WEAVES THE DIFFERENT PARTS OF THE SITE AND DEVELOPS THEIR POTENTIAL, ENDING CRITICAL SITUATIONS AND CREATING A SERIES OF DYNAMIC INTERACTIONS THAT LEAD TO POSITIVE MUTATIONS. THE HYPER-CONNECTION IS TRANSLATED IN BREAKING DOWN VISIBLE / INVISIBLE BARRIERS WHICH CREATE DISCONTINUITIES IN THE AREA, IN DEVELOPING LANDMARKS, SHELTERS AND CROSSING PATHS WHERE THESE ARE LACKING, BUT ALSO IN THE DEFINITION OF A HYPER-CONNECTED CONSTRUCTIVE SYSTEM, WHERE THE EFFORTS TO WHICH THE STRUCTURE IS LOCALLY SUBJECTED ARE DISTRIBUTED GLOBALLY ACROSS THE WHOLE ARCHITECTONICAL ORGANISM MAKING IT FLEXIBLE AND RESISTANT TO THE CHANGING OF EXTERNAL CONDITIONS.

ADDITIONAL

THE DEFINITION OF THE PROJECT STARTS FROM THE NEEDS EXPRESSED BY ICEBERG NOTICE 2008, INVOLVING THE PONTELUNGO’S AREA ON THE OUTSKIRTS OF BOLOGNA. THE NOTICE POINTS OUT HOW THE PSC (STRUCTURAL CITY PLAN) HAS SELECTED A NUMBER OF CENTRAL PLACES PARTICULARLY RELEVANT TO ENSURE AND ENHANCE THE LIVEABILITY OF BOLOGNA AT THE SCALE OF NEIGHBOURHOOD. PONTELUNGO AND ITS PARK WERE RECOGNIZED AS AN AREA WITH POTENTIALITIES TO BE DEVELOPED IN ORDER TO ACHIEVE A BETTER LEVEL OF LIFE FOR ITS INHABITANTS AND FOR THE WHOLE CITY AS WELL. THE AREA IS ABOUT SIX KILOMETRES FROM THE INNER CITY OF BOLOGNA AND IT IS CONNECTED TO IT TROUGH A MAIN THOROUGHFARE (VIA EMILIA) AND WELL SERVED WITH PUBLIC TRANSPORT (BUSES). IN FRONT OF ITS PARK THERE IS A LITTLE STATION OF A LOCAL TRAIN LINE. THE PARK IS NOT VIEWED BY THE NEIGHBOURHOOD AS A PLACE FOR AGGREGATION BUT IT IS LIVED AS A SCAR IN THE CITY FABRIC BECAUSE IT HAS BEEN ABANDONED AND IT IS CONSIDERED DANGEROUS, ALWAYS ALMOST COMPLETELY DESERT, AS PHOTO ANALYSIS CAN DEPICT. IT IS DIVIDED IN TWO PARTS. THE UPPER PART IS NOT ACCESSIBLE FOR THE INHABITANTS BECAUSE OF ARTESIAN AQUIFERS MANAGED BY A PRIVATE COMPANY. IT HAS BEEN PLANNED TO BE RE-OPEN IN ABOUT TEN YEARS. THE LOWER PART IS THE ONLY WALKABLE, AND INSIDE THERE IS A VERY SMALL THEATRE. THE WHOLE PARK LACKS OF ORGANIZATION, THERE ARE NO LANDMARKS AND NO POSSIBILITIES TO HAVE AN ORIENTATION INSIDE IT, TO RECOGNIZE THE PATHS, THE ENTRANCES. THIS CAUSES AN OVERWHELMING FEELING OF ABANDONMENT. ALL AROUND THERE ARE MANY RESIDENTIAL BUILDINGS, A SCHOOL, A SUPERMARKET, A DISTILLERY, A POST OFFICE AND A POLICE STATION, THAT IS SERVICES AND A LIVING SOCIAL FABRIC RICH OF POTENTIALITIES. I TRIED TO SIMULATE THE FLOWS OF PEOPLE AND THE POWER OF ATTRACTION OF THE DIFFERENT ACTIVITIES WITH A MAGNETIC/ELECTRIC PARADIGM, CONSIDERING TWO SITUATION. THE FIRST, EXTERNAL, WHERE THE ACTIVITIES WERE NEGATIVE ATTRACTORS AND THE ENTRANCES TO THE PARK WERE THE POSITIVE ONES, AND A SECOND, INTERNAL, WHERE THE ENTRANCES WERE NEGATIVE AND THE THEATRE WAS THE POSITIVE ATTRACTOR. AND THEN, OVERLAPPING THE RESULTS, YOU CAN SEE HOW THE MAGNETIC FIELDS CREATED BY THESE CONFIGURATIONS DEPICT TWO DIFFERENT NON-INTERACTING SITUATION, DUE TO THE PERIPHERAL POSITION OF THE PARK’S ENTRANCES AND THE LACK OF INTERNAL ACTIVITIES. LATER ON I MADE A 3D MODEL OF THE ENTIRE AREA (GROUND, BUILDINGS AND TREE, DETAILED CAD MAPS OF THEM WHERE PROVIDED BY THE MUNICIPALITY) AND STARTED SOME SOLAR ANALYSIS. I CONSIDERED DIFFERENT SOLAR CONDITION: THE TWO EQUINOXES AND THE SOLSTICES. AS YOU CAN SEE, EVEN IF THERE ARE A LOT OF TREES THEY ARE NOT WELL DISTRIBUTED, CREATING VERY CLOSED AREAS AND SCATTERED CLEARINGS, IRRADIATED BY THE SUN. AS OUTPUT I COLLECTED SHADING VALUES IN SPECIFIC POINTS AND SOLAR RADIATION AS A SURFACE OF VALUES, WHICH COVERS THE WHOLE AREA. A GOOD SOFTWARE TO DO THIS KIND OF ANALYSIS IS ECOTECT ® WHICH, AS I WILL SAY LATER, HAS ALSO THE POSSIBILITY TO WORK IN COOPERATION WITH RHINO, EITHER WITH RHINOSCRIPT OR OTHER PLUGINS. FINALLY I MANAGED TO DEFINE A TREES REPRESENTATION THAT WOULD HAVE GIVEN AN IMAGE AND BE A MAP OF THE SITE ARBOREAL CONDITIONS THROUGH DIFFERENT PERIODS OF THE YEAR. I HAD A MAP OF TREES, BUT IT WAS ONLY A BUNCH OF POINTS. SO, AND HERE SCRIPTING CAME IN HELP AGAIN, I DECIDED TO DRAW LINE WITHIN TREES RESPECTING PROXIMITY RULES (ENOUGH CLOSE - DRAW A LINE, TOO DISTANT - DO NOTING). MODIFYING THE THRESHOLD I DEFINED A MAP VISUALIZATION OF THE GROWING VEGETATION, AND THE CLEARINGS AS WELL, DURING DIFFERENT TIMES IN A YEAR (SEASONS). THEN I HAD TO USE THESE COLLECTED DATA. FIRSTLY I DESIGNED SIMPLE LINE TO CONNECT THE ENTRANCES (CURRENT AND FUTURE ONES) AND SOME POINTS OF INTEREST INSIDE THE PARK (NICE VIEWS, CHILDREN SPACES, CLEARINGS, THEATRE ENTRANCE, PARK ENTRANCE, TRAIN STATION, ETC..). THEN I WROTE A SCRIPT TO DESIGN A PAVILION’S PROFILE, WITH A MINIMUM AND A MAXIMUM SECTION ASSIGNED (WIDTH BUT ALSO HEIGHT) AND LINK IT TO THE POINTS OF INTEREST PROXIMITY AND THE IRRADIATION VALUES (TAKEN FROM THE TESTING SURFACE). ALSO THE MAIN PROFILE LINE WAS FORCED TO MODIFY ITS PATH IN SEARCH OF THE MOST IRRADIATED AREAS. THIS WAY I COULD HAVE A PATH GROWING WHILE CROSSING THE CLEARINGS AND THE MOST CROWDED PLACES, AND REDUCING ITSELF WHILE APPROACHING THE THICKER TREES AREAS. WITH A STRONG CHANGING OF THRESHOLDS VALUES I REACHED DIFFERENT RESULTS, SIMILAR TO THE LINE INTERACTION BETWEEN TREES. AT THAT POINT I ADDED ANOTHER RULE: IF THE PAVILION SECTION ENCOUNTERS SINGLE TREES ON ITS WAY IT SHOULD LOWER AND MOVE TO LET THE TREE OUTSIDE THE PAVILION, AND IF IT WAS CLOSE TO AN INTERESTING VIEW ITS BORDER SHOULD RISE TO POINT OUT TO IT OR, WHEN BOTH THE BORDER WERE SUFFICIENTLY CLOSE, TO CREATE A PASSAGE. DIFFERENT RULES OF INTERACTION (WRITTEN AS EQUATION WITH DISTANCE AS UNKNOWN VALUE) GAVE DIFFERENT RESULTS. THEN I INTERPOLATED RESULTS TRYING TO DESIGN A COHERENT SPATIAL SYSTEM IN WHICH DETERMINED ACTIVITIES TAKE PLACE WITHIN NEW PATHS AND CONNECTIONS. I ALSO TRIED TO LINK THE SPATIAL ORGANIZATION WITH THE POSSIBLE PARK’S USERS: THE NEIGHBOURHOOD INHABITANTS, PEOPLE FROM OTHER PARTS OF THE CITY WHO COME TO THE THEATRE AND, ONCE INSIDE THE SYSTEM, MAGNETIZED BY OTHER ACTIVITIES AND, FINALLY, SCHOOL CHILDREN WHICH LIVE THE PARK AS A COLLECTION OF ENTERTAINMENTS AND OPPORTUNITIES. THE HYPER CONNECTIONS OF PATHS SUGGESTS ME THE IDEA OF AN INTERLACED STRUCTURAL SYSTEM, AND THIS LED ME TO DEEPEN MY KNOWLEDGE ABOUT “TENSEGRITY”

TH.01 PAGE.10 COUNTER

[CONTINUES]


ADDITIONAL

SITE MODEL

ADDITIONAL

SITE ANALYSIS

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

05 B

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

A

02 A

06

07

04 01

03

[I TRIED TO SIMULATE THE FLOWS OF PEOPLE AND THE POWER OF ATTRACTION OF THE DIFFERENT ACTIVITIES WITH A MAGNETIC/ELECTRIC PARADIGM, CONSIDERING TWO SITUATION. THE FIRST, EXTERNAL, WHERE THE ACTIVITIES WERE NEGATIVE ATTRACTORS AND THE ENTRANCES TO THE PARK WERE THE POSITIVE ONES, AND A SECOND, INTERNAL, WHERE THE ENTRANCES WERE NEGATIVE AND THE THEATRE WAS THE POSITIVE ATTRACTOR. AND THEN, OVERLAPPING THE RESULTS, YOU CAN SEE HOW THE MAGNETIC FIELDS CREATED BY THESE CONFIGURATIONS DEPICT TWO DIFFERENT NON-INTERACTING SITUATION, DUE TO THE PERIPHERAL POSITION OF THE PARK’S ENTRANCES AND THE LACK OF INTERNAL ACTIVITIES.

A B B

CRITICAL A ENTRANCES B RESIDENTIAL 01 T.STATION 02 THEATRE 03 SCHOOL 04 S.MARKET 05 ENERGY CO. 06 POLICE S. 07 POST OFFICE

LATER ON I MADE A 3D MODEL OF THE ENTIRE AREA (GROUND, BUILDINGS AND TREE, DETAILED CAD MAPS OF THEM WHERE PROVIDED BY THE MUNICIPALITY) AND STARTED SOME SOLAR ANALYSIS. I CONSIDERED DIFFERENT SOLAR CONDITION: THE TWO EQUINOXES AND THE SOLSTICES. AS YOU CAN SEE, EVEN IF THERE ARE A LOT OF TREES THEY ARE NOT WELL DISTRIBUTED, CREATING VERY CLOSED AREAS AND SCATTERED CLEARINGS, IRRADIATED BY THE SUN. AS OUTPUT I COLLECTED SHADING VALUES IN SPECIFIC POINTS AND SOLAR RADIATION AS A SURFACE OF VALUES, WHICH COVERS THE WHOLE AREA. A GOOD SOFTWARE TO DO THIS KIND OF ANALYSIS IS ECOTECT ® WHICH, AS I WILL SAY LATER, HAS ALSO THE POSSIBILITY TO WORK IN COOPERATION WITH RHINO, EITHER WITH RHINOSCRIPT OR OTHER PLUGINS. FINALLY I MANAGED TO DEFINE A TREES REPRESENTATION THAT WOULD HAVE GIVEN AN IMAGE AND BE A MAP OF THE SITE ARBOREAL CONDITIONS THROUGH DIFFERENT PERIODS OF THE YEAR. I HAD A MAP OF TREES, BUT IT WAS ONLY A BUNCH OF POINTS. SO I DREW LINE WITHIN TREES RESPECTING PROXIMITY RULES (ENOUGH CLOSE DRAW A LINE, TOO DISTANT - DO NOTING). MODIFYING THE THRESHOLD I DEFINED A MAP VISUALIZATION OF THE GROWING VEGETATION, AND THE CLEARINGS AS WELL, DURING DIFFERENT TIMES IN A YEAR (SEASONS).]

TH.02 PAGE.11 COUNTER

SOLAR ANALYSIS

PROXIMITY AND MAGNETIC ANALYSIS


ADDITIONAL

SITE ANALYSIS

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

CRITICAL 01- 06 OBSTACLES A.01 - A.04 ATTRACTORS

ADDITIONAL

TEST OBJECTS

PROXIMITY RULES

[THEN I HAD TO USE THESE COLLECTED DATA. FIRSTLY I DESIGNED SIMPLE LINE TO CONNECT THE ENTRANCES (CURRENT AND FUTURE ONES) AND SOME POINTS OF INTEREST INSIDE THE PARK (NICE VIEWS, CHILDREN SPACES, CLEARINGS, THEATRE ENTRANCE, PARK ENTRANCE, TRAIN STATION, ETC..). THEN I WROTE A SCRIPT TO DESIGN A PAVILION’S PROFILE, WITH A MINIMUM AND A MAXIMUM SECTION ASSIGNED (WIDTH BUT ALSO HEIGHT) AND LINK IT TO THE POINTS OF INTEREST PROXIMITY AND THE IRRADIATION VALUES (TAKEN FROM THE TESTING SURFACE). ALSO THE MAIN PROFILE LINE WAS FORCED TO MODIFY ITS PATH IN SEARCH OF THE MOST IRRADIATED AREAS. THIS WAY I COULD HAVE A PATH GROWING WHILE CROSSING THE CLEARINGS AND THE MOST CROWDED PLACES, AND REDUCING ITSELF WHILE APPROACHING THE THICKER TREES AREAS. WITH A STRONG CHANGING OF THRESHOLDS VALUES I REACHED DIFFERENT RESULTS, SIMILAR TO THE LINE INTERACTION BETWEEN TREES.

A.02

A.04

A.01

A.03

AT THAT POINT I ADDED ANOTHER RULE: IF THE PAVILION SECTION ENCOUNTERS SINGLE TREES ON ITS WAY IT SHOULD LOWER AND MOVE TO LET THE TREE OUTSIDE THE PAVILION, AND IF IT WAS CLOSE TO AN INTERESTING VIEW ITS BORDER SHOULD RISE TO POINT OUT TO IT OR, WHEN BOTH THE BORDER WERE SUFFICIENTLY CLOSE, TO CREATE A PASSAGE. DIFFERENT RULES OF INTERACTION (WRITTEN AS EQUATION WITH DISTANCE AS UNKNOWN VALUE) GAVE DIFFERENT RESULTS..]

01

02

A.02

A.01

03

A.04

V = 80/MINDIST

V = 80/LOG(MINDIST)

V = 40/LOG(MINDIST)

V = 90/MINDIST

V = 80/LOG(mindist)+1

V = 80/(MINDIST)^2

V = 30/MINDIST

V = 50/LOG(MINDIST)+1

V = 80/(MINDIST)^3

V = 15/MINDIST

V = 55/LOG(MINDIST)+1

V = 10/(MINDIST)^2

V = 85/MINDIST

V = 20/LOG(MINDIST)+1

V = 20/(MINDIST)^2

04

A.03

PAVILLION PIECE 00 PAVILLION PIECE 00

04

03

02

01

TH.03 PAGE.12 COUNTER

TEST OBJECTS

RULES OF INTERACTION 01


ADDITIONAL

TENSEGRITY DESIGN

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

HUMAN VERTEBRAE MORPHOLOGY MODIFICATIONS STRUCTURE

ADDITIONAL

OBJECT ANALYSIS

THERE ARE MANY DEFINITIONS ADOPTED FOR THE TERM "TENSIONAL INTEGRITY" OR "TENSEGRITY". ONE OF THE FIRST STATEMENTS DEFINED TENSEGRITY AS A STRUCTURAL PRINCIPLE RELYING ON THE USE OF ISOLATED COMPRESSED ELEMENTS CONNECTED BY A CONTINUOUS NETWORK OF STRETCHED COMPONENTS. WE CAN SAY THAT IT IS ACTUALLY A PHYSICAL MECHANISM RATHER THAN A TYPE OF STRUCTURE. THE TERM, WITH THIS MEANING, WAS COINED BY RICHARD BUCKMINSTER FULLER IN 1955, EVEN THOUGH IN THE SAME YEARS DAVID GEORGES EMMERICH AND KENNETH D. SNELSON FORMULATED THE SAME CONCEPT. WHILE THE FIRST TWO TRIED TO SYSTEMATIZE THE SUBJECT AND DEFINE THE STRICT MATHEMATICAL PROPERTIES OF SUCH SYSTEMS, THE LATTER WAS ENTRUSTED TO A MORE EMPIRICAL APPROACH, WITH WHICH HE CREATED A SERIES OF "FLOATING " SCULPTURES. THE TERM DERIVES FROM THE UNION OF THE TWO WORDS "TENSION" AND "INTEGRITY" AND MEANS THAT THE INTEGRITY OF THIS CLASS OF STRUCTURES DEPENDS ON THE BALANCE BETWEEN TENSIONS DIFFUSED ON THEM.

MORPH. PARAMETERIZATION 000

WE CAN FIND PLENTY OF TENSEGRITY‘S EXAMPLES IN BIOLOGICAL WORLD: IN THE MAST OF A PLANT (FREI OTTO DID SOME VERY INTERESTING EXPERIMENTS ABOUT IT) WITH COMPRESSED SEGMENTS AND TENSE TRACHEIDS; IN THE NECK OF AN APATOSAURUS (BRONTOSAURUS) , WITH A LENGTH OF ABOUT TEN METERS, MADE OF COMPRESSED VERTEBRAE AND TENSE MUSCLES; IN THE NECK OF A MAMMAL LIKE A HORSE OR THE IN HUMAN VERTEBRAL COLUMN. THE DEFINITION OF COMPONENTS STARTED FROM THE MORPHOLOGY’S ANALYSIS OF THE HUMAN VERTEBRAE: HOW THEY MODIFY THEMSELVES FROM THE SACRUM TO THE FIRST CERVICAL AND HOW THEY REMAIN SIMILAR TO EACH OTHERS. MODIFICATIONS ARISE DUE TO DIFFERENT POSITION AND DIFFERENT ROLES THAT EVERY DIFFERENT VERTEBRA SUSTAINS. FOR EXAMPLE THE CHANGE OF THEIR SECTIONAL INERTIA DEPENDING FROM THEIR POSITION, OR THE CHANGE OF SCALE (THE HIGHER VERTEBRAE ARE SMALLER, WEIGHT LESS, AND LESS COMPACT). THERE ARE ALSO SIMILARITY LIKE THE CONSTANT PRESENCE OF PROCESSES, WHICH ARE ATTACHMENTS FOR MUSCLES AND TENDONS. WE CAN FIND SIMILARITY NOT ONLY IN THE MORPHOLOGY OF THE SINGULAR VERTEBRA BUT ALSO IN THE SPATIAL RELATIONSHIP BETWEEN ONE OF THEM AND ANOTHER (THE UPPER SPINOUS PROCESS AND THE PROCESSES BELOW FOR EXAMPLE). I TRIED TO SIMPLIFY AS POSSIBLE THE RULES OF INTERACTION TO HAVE THE SIMPLEST MODEL. TO BEGIN WITH I DESIGNED THE COMPONENT AS A TUBULAR ELEMENT WITH FOUR PIECES, FITTING INSIDE A TETRAHEDRON. THE VARIANCE OCCURRED IN THE INERTIA OF THE COMPONENT (E.G. HOW MUCH THE TWO “WINGS” MOVED FROM THE STARTING POSITION) AND IN THE RELATIVE POSITION BETWEEN ONE COMPONENT AND ANOTHER (DISTANCE, ANGLE). WITH A SIMPLE REPETITION AND LINEAR LINKS BETWEEN THE ELEMENTS, I DEFINED A FIRST KIND OF STRUCTURE, GROWING IN PARALLEL LINES WITH A CONSTANT LAW (LINKED TO THE PROXIMITY OF A POINT) THROUGHOUT A PATH.

COMPONENT 000 SERIES LATERAL VIEW

TETRAHEDRAL STRUCTURE TOP

BOTTOM

LEFT

FRONT

COMPRESSED BODY

VERTEBRAL COLUMN LATERAL VIEW

COMPONENT 000 SERIES FRONT VIEW

COMPONENT 001 SERIES

TOP

FRONT

LEFT

BOTTOM

TH.04 PAGE.13 COUNTER

RELATIVE POS. PARAMETERIZATION

SERIES 001

SERIES 000 PAVILLION


ADDITIONAL

SPREADING 001

SERIES 002 003

TENSEGRITY DESIGN

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

TENSIONED MEMBRANE

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

TOP

FRONT

BOTTOM

LEFT

LEFT

BOTTOM

TOP

FRONT

LEFT

BOTTOM

TOP

FRONT

COMPRESSED BODY

COMPONENT 002

COMPONENT 002 SERIES

HUMAN VERTEBRAE MORPHOLOGY MODIFICATIONS STRUCTURE

COMPONENT 003

TO TEST THE COHERENCE OF THIS KIND OF BEHAVIOUR A PHYSICAL MODEL WAS DEFINED. ITS MORPHOLOGY RESEMBLES THESE JUST DESCRIBED: TETRAHEDRICAL WITH AN INTERNAL PART ALMOST COMPRESSED (I HAVE TO POINT OUT THAT EVEN IN THIS KIND OF COMPONENTS THERE ARE BENDING AND CURLING EFFECTS BETWEEN DIFFERENT PARTS) AND A CONTINUOUS WIRE. THE MODEL WAS DESIGNED WITH RHINOCEROS TRYING TO HAVE SIMPLE BI-DIMENSIONAL PIECES. BECAUSE I DO NOT OWN A LASER CUTTER IT WAS CUT IN WOOD MANUALLY WITH THE HELP OF A CARPENTER, AND LATER SPRAYED WITH WHITE PAINT. THE TWO DIMENSIONAL LAYERS CROSSED CREATES A SORT OF THREE DIMENSIONAL TETRAHEDRON. THE WIRE USED WAS PLASTIC FISHING LINE. DEPENDING ON THE TENSION OF THE WIRE THE COLUMN LIFTS, BENDS, CHANGES ITS CURVATURE AND CAN EVEN BECOME ALMOST HORIZONTAL.

START POINT

START POINT

ROT. + : 2 ROT. - : 0.2 LAT. ROT.: 1 / 1.1 SCALE 1.1 / 0.9

ROT. + : 4 ROT. - : 0.2 LAT. ROT.: 1.3 / 0.1 SCALE 1.2 / 0.9

AFTER THE PHYSICAL TEST A MORE COMPLEX COMPONENT, STILL TETRAHEDRICAL, WAS DEVELOP AND ITS SPREADING WAS CONCEIVED NOT ONLY IN A LINEAR WAY BUT ALSO IN SPACE TO CREATE AN ENCLOSING SURFACE. DIFFERENT VALUES FOR RELATIVE POSITIONS, ANGLES, DISTANCES AND ALSO SCALE CREATED DIFFERENT EFFECTS.

START POINT

THE NEXT STEP WAS TO DEVELOP TENSE COMPONENTS AS SURFACES AND NOT AS WIRES. TO ACHIEVE THIS RESULTS THE LINES CONNECTING A PIECE TO ANOTHER WERE SUBSTITUTED BY MEMBRANES. AND THE MEMBRANES WERE SHAPED TO REDUCE THEIR IMPACT BOTH ON MATERIAL AMOUNT AND POROSITY OF THE STRUCTURE.

START POINT

ROT. + : 3 ROT. - : 0.4 LAT. ROT.: 1.1 / 0.3 SCALE 1.2 / 0.9

TH.05 PAGE.14 COUNTER

ADDITIONAL

SPREADING 001 002

SERIES 001 VALUES

ROT. + : 2 ROT. - : 0.4 LAT. ROT.: 1.2 / 0.4 SCALE 1.3 / 0.8


ADDITIONAL

ADDITIONAL

ARCH DETAIL

THE LAST STEP WAS TO MODIFY A LITTLE THE COMPONENT, TRYING TO MAKE IT MORE “ELEGANT”. SO I SIMPLIFIED THE ELEMENT TRYING TO INCORPORATE IN IT THE PANEL MODULATION AND THE POROSITY, WEAVING THE STRUCTURAL PART AND THE EXTERIOR SURFACE TOGETHER IN A COHERENT SYSTEM. THIS KIND OF COMPONENT WAS FIRSTLY APPLIED ON A PLANAR SURFACE AND THEN ON A CURVED ONE. THE EFFECT RESEMBLED IN SOME WAY BIOLOGICAL WORLD’S SHAPES, BUT THE INTERESTING THING ABOUT IT WAS THAT THIS RESEMBLANCE WAS NOT MIMETIC BUT “CAME OUT” FROM ITSELF, BEING THE RULES UNDERNEATH IT SIMILAR TO THE ONES UNDERNEATH BIOLOGICAL ORGANISMS.

TENSEGRITY DESIGN

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

ABOUT "ELEGANCE" IN DESIGNING I FOUND VERY INTERESTING THE ESSAY BY PATRICK SCHUMACHER. INSPIRING AND HELPFUL NOT ONLY AS A DISSERTATION ON THE NATURE OF ARTS AND ARCHITECTURE BUT FOR THE ANALYSIS AND THE DEFINITION OF AN ARTISTIC/ARCHITECTONICAL PROCESS OF CREATION, DEALING ABOUT WHAT WE PERCEIVE AS “ELEGANT” (A COHERENT AND ATTRACTIVE ELEMENT, FILLED WITH A SUBTLE LOGIC YOU CANNOT UNDERSTAND AT THE FIRST GLANCE BUT YOU CAN FEEL IT IMMEDIATELY), ITS DESIGN THAT COMES OUT FROM A LONG, RECURSIVE, STUDIED PROCESS, AND THE CONCURRENT PRESENCE IN IT OF BOTH COMPLEXITY AND SIMPLICITY.

TOP

PERSP.

TOP

PERSP.

TOP

PERSP.

LEFT

FRONT.

LEFT

FRONT.

LEFT

FRONT.

TOP

PERSP.

TOP

PERSP.

TOP

PERSP.

LEFT

FRONT.

LEFT

FRONT.

LEFT

FRONT.

MAX 01

MAX 02

MAX 03

TOP

PERSP.

TOP

PERSP.

TOP

PERSP.

LEFT

FRONT.

LEFT

FRONT.

LEFT

FRONT.

TH.06 PAGE.15 COUNTER

PLANAR

SURFACING COMPONENT 004


ADDITIONAL

PAVILLION

VIEWS

ADDITIONAL

FINALLY THE COMPONENTS WERE APPLIED TO THE LOWER PART OF THE PONTELUNGO’S PAVILION, AND LINKED TO THE DATA COLLECTED.

TENSEGRITY DESIGN

THE MOST IRRADIATED PARTS OF THE PAVILION’S SURFACE TENDED TO BE CLOSED AND UNIFORM, WHILE THE LESS HEATED BY SOLAR RAYS OPENED THEMSELVES, LETTING AIR AND REFLECTED LIGHT PASS THROUGH.

TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

SO THE PAVILION IS BOTH OPEN AND CLOSE, IT HAS ITS POROSITY AND GRAIN. SUN, WIND, BUT ALSO PEOPLE FLOW THROUGH IT. ANOTHER INTERESTING THING INDEED WAS THAT THE SURFACE, NOW DIFFERENTIATED IN POROSITY DEGREE AND SURFACE EFFECTS, KEPT OFFERING MULTIPLE AND ALTERNATIVE PATHS AND CHOICES FOR THE EXPERIENCE AND THE CROSSING OF THE PARK (PEOPLE COULD WALK INSIDE, OUTSIDE, ACROSS, OVER AND UNDER THE SURFACE).

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

TH.07 PAGE.16 COUNTER

ELEMENT

SECTIONS


ADDITIONAL

DETAIL

ADDITIONAL

IN THE END THE PHYSICAL MODELLING OF A REAL PIECE OF THIS ARCHITECTURE. THE 3D MODEL SHOULD HAVE BEEN NON-MANIFOLDS TO BE PRINTABLE.

3D PRINTED MODEL TITLE / OBJECT (ISO)COMMUNICATION [ TENSIONAL INTEGRITIES AND INTENSIVE CONNECTIONS THROUGH A PERIPHERAL PARK OF BOLOGNA ]

IT WAS MADE WITH NURBS, THEN MESHED IT WITH THE MINIMUM AMOUNT OF FACES WITHOUT LOSING DETAILS. THEN ITERATIVELY A SERIES OF REPAIRING COMMANDS WERE PERFORMED TO OPTIMIZED IT, EVALUATING IF ONE OF THEM CREATED PARTICULAR PROBLEMS. AFTER THAT IT WAS EXPORTED FROM RHINO TO BLENDER AS A WAVEFRONT OBJECT . IN BLENDER IT WAS OPTIMIZED AGAIN TO FIX UNSOLVED MANIFOLD PROBLEMS.

THESIS PROJECT DETAIL YEAR : 2009/2010 SUPERVISORS : ALESSIO ERIOLI (UNIBO) GABRIELE GIACOBAZZI (UNIBO) LUDOVICO LOMBARDI (UCL)

IN THE END THE MODEL WENT FOR A LAST CHECK VIA NETFABB AND THEN SENT TO SHAPEWAYS.COM. ‘SHAPEWAYS’ IS AN ONLINE RAPID-PROTOTYPING COMPANY. THEY OFFER THE SERVICE OF UPLOADING YOUR OWN DESIGNS AND PROTOTYPING THEM ON ORDER. THE DESIGNS ARE STORED ON YOUR OWN PERSONAL ACCOUNT SPACE SO YOU CAN REORDER AND SHARE THEM AT ANY TIME. THIS MODEL IS A STEREOLITOGRAPHY PRINT. MATERIAL IS PA 2200.

CRITICAL A. NON MANIFOLDS B. CLOSE C. THICKNESS THRS.

TH.08 PAGE.17 COUNTER

MODEL OBJECT

SLC SHAPEWAYS PRINTED


OBJECT / TITLE

ADDITIONAL

PEQUOD

: HTTP://WWW.PQUOD.BLOGSPOT.COM/

FLICKR

: HTTP://WWW.FLICKR.COM/PHOTOS/REVINK/SETS/

YOUTUBE

: HTTP://WWW.YOUTUBE.COM/USER/REVINKKK

FEATURED BY FONTANAMIX ENSEMBLE

DETAIL YEAR TYPE LOCATION CONDUCTOR

: 2009 : VIDEO PERFORMANCE : TEATRO COMUNALE BOLOGNA : YOICHI SUGIYAMA

OCTET [ STEVE REICH’S EIGHT LINES VIDEO PERFORMANCE ]

RH.00 PAGE.18 FONTANAMIX COUNTER

FEATURED BY


PICTURES

ADDITIONAL

PEQUOD

: HTTP://WWW.PQUOD.BLOGSPOT.COM/

FLICKR

: HTTP://WWW.FLICKR.COM/PHOTOS/REVINK/SETS/

YOUTUBE

: HTTP://WWW.YOUTUBE.COM/USER/REVINKKK

THAT KIND OF MUSIC, WITH A CONTINUOUS THUS EVOLVING PATH MADE ME THINK OF A SOMETHING GROWING AND REPLICATING, EQUAL TO ITSELF BUT AT THE SAME TIME UNDER A CONSTANT, SUBTLE CHANGING. SO I STARTED THINKING AND I MADE SOME STORYBOARDING.

FEATURED BY FONTANAMIX ENSEMBLE

CONDUCTOR

THIS PICTURES DEPICT THE CONCERT PERFORMED ON 23RD OF FEBRUARY AT TEATRO COMUNALE, BOLOGNA. I WAS ASKED BY FONTANAMIX ENSEMBLE TO CREATE A VIDEO TO BE PROJECTED DURING THE PLAY OF THE STEVE REICH'S EIGHT LINES - OCTET.

TITLE / OBJECT OCTET [ STEVE REICH’S EIGHT LINES VIDEO PERFORMANCE ]

DETAIL YEAR TYPE LOCATION

ADDITIONAL

: 2009 : VIDEO PERFORMANCE : TEATRO COMUNALE BOLOGNA : YOICHI SUGIYAMA

THE ANIMATION WAS MADE WITH 3DS MAX, UTILIZING MOST KEYFRAME AND MORPHING TECHNIQUES AND SOME MODIFIERS APPLIED LIKE NOISES TO THE FORMS. THE NOISE SHOULD IN SOME WAY CONNECT WITH THE MUSIC RHYTHM, I WOULD LIKE THE ELEMENTS RESONATED WITH THE MUSIC, AND I DISCOVERED IT IS POSSIBLE TO TUNE A MODIFIER WITH AN AUDIO FILE, OR EVEN A MICROPHONE (DUE TO THE NECESSITY OF RENDERING THE VIDEO I CHOSE THE FIRST OPTION, UNDERSTANDING THAT THE VIBRATION WOULD NOT BE COMPLETELY TUNED WITH THE EXECUTION, BUT THINKING AFTER ALL IT WAS NOT STRICTLY NECESSARY DOING IT, IT WAS JUST AN INFLUENCE) TO MAKE THE ELEMENT PROLIFERATE I CREATED A "GHOST" COPY OF THE FIRST ONE, WITH THE SAME MODIFIERS, REVEALED IT AT A CERTAIN TIME, FIRSTLY OVERLAPPING IT TO THE FORMER OBJECT AND THEN GRADUALLY CHANGING ITS PHASING AND DETACHING FROM IT TO CREATE A NEW INDEPENDENT ELEMENT. WHILE SPREADING I INTRODUCED A SORT OF INTERACTION BETWEEN ELEMENTS AT A PARTICULAR MOMENT, LIKE A LINK TO DEVELOP A NEW KIND OF ORGANISM BEFORE PROLIFERATING AGAIN. THEN I MOVED ON WITH SOME NEW VARIATION, ALSO IN OBJECT COLOURS AND REFLECTIONS (EVERYTHING USING KEYFRAME ANIMATION) THE VIDEO WAS PLAYED WHILE THE ENSEMBLE, CONDUCTED BY YOICHI SUGIYAMA, PERFORMED STEVE REICH'S PIECE.

RH.01 PAGE.19 COUNTER

PROLIFERATIONS

PICTURES


ADDITIONAL

DETAIL

BLANK PAGE

BLANK PAGE -> OBJECT


ADDITIONAL

M

:

REVINK@GMAIL.COM

T B L F Y

:

+393282550078

:

HTTP://PQUOD.BLOGSPOT.COM/

:

HTTP://IT.LINKEDIN.COM/PUB/VINCENZO-REALE/10/87/7

:

HTTP://WWW.FLICKR.COM/PHOTOS/REVINK/SETS/

:

HTTP://WWW.YOUTUBE.COM/USER/REVINKKK

ALL THIS MATERIAL IS UNDER CREATIVE COMMONS LICENCE ATTRIBUTION-NONCOMMERCIAL-NODERIVS 3.0 UNPORTED ATTRIBUTION — YOU MUST ATTRIBUTE THE WORK IN THE MANNER SPECIFIED BY THE AUTHOR OR LICENSOR (BUT NOT IN ANY WAY THAT SUGGESTS THAT THEY ENDORSE YOU OR YOUR USE OF THE WORK). NONCOMMERCIAL — YOU MAY NOT USE THIS WORK FOR COMMERCIAL PURPOSES. NO DERIVATIVE WORKS — YOU MAY NOT ALTER, TRANSFORM, OR BUILD UPON THIS WORK.

END.00 PAGE.LAST COUNTER

END OBJECT

Vincenzo Reale _ Portfolio v. 1.0 beta  

A portfolio collecting some of my works more @ http://pquod.blogspot.com/

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