From Geoff Manaugh at BldgBlog
The project video includes images taken with the ball camera.
Ujin Lee’s dust series is related to Motion Lapse because Lee is capturing the moment of a dust cloud explosion.
I have been following Urban Tick, a blog written by Fabian Neuhaus about data flow in urban environments, for several months. Many of the posts are related to the work on my blog. Now that my project is done and I’ve graduated I can take the time to indulge in Neuhaus’s posts.
The famous book ‘Animate Form’ on digital architecture by Greg Lynn is out as a reprint. Its twelve years and a lot of development, both technically as part of the software, application, platform and architecture has happened since.
The publication was originally published in 1999 as one of the very first comprehensive books on digital architecture and has no been reprinted as a 2011 version by Princeton Architectural Press, the original publisher. The new print has no changes and runs as the same book.
Lynn writes, “There are three fundamental properties of organization in a computer that are very different from the characteristics of inert mediums such as paper and pencil: topology, time, and parameters.” I have learned at least six different pieces of digital modeling software in the last three years. I have also developed design skills with drawing tools, paper and solid objects. Having gone through this academic gauntlet I can affirm that these three characteristics are quite different in the computer than they are with haptic design tools. This statement is perhaps most transparent in the work of my classmate, Lane Rapson.
Neuhaus argues that the most underused property in architecture, even a decade after Lynn’s book was published, is time. He also pointed out that Etienne-Jules Marey used reflective tags on the joints of his subjects that allowed him to track motion as well as trigger the camera. Time, motion triggered cameras and architecture are three topics that are on the forefront of my thoughts.
Cosm is an integrated collection of extensions to Max/MSP/Jitter to assist the construction of navigable, sonified, complex virtual worlds, and has been designed to facilitate use in CAVE-like environments. Cosm adds support for six degrees of freedom navigation for both camera and world-objects, collision detection between objects (based on spherical intersection), spatialized audio for mobile objects. It also provides rich support for 3D fields as dynamic environments, and agent-environment interactions.
ScanLAB scanned a burned out, decaying chapel and created stunning images.
Their representation of the building as a ghosted, translucent ghost against the dark background of trees reminds me of how ephemeral models represent time and movement. ScanLAB’s results make the building seem like it is another ghost in the cemetary, a transitory visitory instead of a solid stone building.
ScanLAB are my people. They thought it would be interesting to see if they could scan mist and smoke. Their hunch was right. It is interesting. This is a scan of mist they created.
In a way I have been chasing a similar ghost. Ephemeral modeling relies on capturing light as it intersects with a reflective object with a camera. ScanLAB is capturing mist as their laser scan sees it.
AgiSoft StereoScan is a free program that can convert a stereo pair of photographs into a 3D model. I am exploring the technique of photogrammetry in stereo to convert ephemeral models into 3D, digital surfaces. This is the first test. The model may be orbited by clicking and dragging the surface. Download a pdf of the stereo photogrammetry test. The newest version of Acrobat reader is required to view the 3D surface.
This project is eerie and strange and beautiful. Project 12:31 uses images from Texas murderer, Joseph Paul Jernigen, to create these images.
Thanks for sending this Jack.
Alex Kesslaar makes fire and light painted photographs. This technique is somewhat related to ephemeral modeling because he is using long exposures and blending them together. Kesslaar’s exposures are longer than the panopticon camera’s exposures so he is able to paint with a small light source. Some of the photographs appear to be blended together because the light breaks in places. The break represents the brief moment when one exposure ends and the next begins. Others appear to be single, long exposures.
Ephemeral models use short exposures that are three seconds apart. The regular cadence of short exposures allows the designer to move materials and model a space. Three seconds is long enough to allow the designer to move into a new position and short enough to allow them to remember where they have been.
László Moholy-Nagy was a painter who experimented with photography as a means to expand his painting ability. He also looked to photographic methods to explain architecture. He is most famous for creating photograms.
“Openings and boundaries, perforations and moving surfaces, carry the periphery to the centre, and push the centre outward. A constant fluctuation, sideways and upwards, radiating, all-sided, announces that man has taken possession, so far as his human capacities and conceptions allow, of imponderable, invisible and yet omnipresent space.”
László Moholy-Nagy in From Material to Architecture
“‘From the point of view of the subject, space can be experienced most directly by movement, on a higher level, in the dance. The dance is an elemental means for realization of space-creative impulses. It can articulate space, order it.’ The subject in motion experiences space, and simultaneously actively manipulates it.”
László Moholy-Nagy in Moholy-Nagy: Photographs and Photograms; pp. 29