/design work, projects and tests*/

/*setting a research project currently, more
...information will be available soon/

Tuesday, April 12, 2011

Proposal for the new pier, Island Cres, Croatia


collaboration project with Pierre Forissier biomorphis  





collaboration project with Pierre Forissier biomorphis  
sinQb Shane Gregoran context landscape 3d

Includes boat rental place, sunbathing platforms, ramp access... will add more txt on the first rainy day..


Wednesday, December 8, 2010

nCodon

nCodon's new address: www.nCodon.com

Saturday, October 30, 2010

Spider Evolution

@ nCodon



Spider Evolution by shane gregoran sinQb
script available for download @ nCodon

Gravity Field Visualization Experiment

nCodon 


 

Gravity Field Visualization Experiment by shane gregoran sinQb
script available for download @ nCodon

Wednesday, July 7, 2010

Twirl_RhinoScript

nCodon

Twirl_RhinoScript by Pierre Forrisier
script available for download @ nCodon

Sunday, April 25, 2010

Change/Time Component of a Form


/‘concrete geometries’ - a resultants of a continual actualization of the moment now/

It is suggested that a change/time is a fundamental element of a form and that it is necessary to view the change sequence as an intrinsic component of it. Perceiving change/time as inseparable quality implies that all of the parameters that are impacting a particular formation are directly linked to its basic structure and acting together.

Differences exist in how the forms are perceived a priory to their actualization, and which data is understood in the mind as one describing the form. Often, the forms are perceived as the entities with their imaginary or real margins, relatively separate from the surrounding conditions and as if extracted from the matrix of change and movement. These differentiations in the initial perception, i.e. what the mind understands in the first place as the qualities that are structuring the form, are directly linked to the creative processes and are conditioning the way in which we think and consequently create - first as the outlines of the mind concepts and than as actualization of these thought forms in the reality.

Although as mind concepts the forms can exist as ‘frozen’ frames in time/change, this never happens in Nature and reality. There is a certain flow in the Universe and we are part of it. There are things which are not planned - they happen. These are the processes which exist all around us and it is what the Nature’s essence seems to be. Movement and change appear to be fundamental forces. We are also continuously evolving. There seems to be a continuous adaptation of everything on existing conditions at any particular moment in time.
If it is possible to describe what the form is, it is necessary to see it not just as section of isolated space geometry, but simultaneously as a section of a time/change data, viewing all of the frames of the change sequence as an intrinsic component of the structure of a particular form.

It is suggested that, as the change is perceived as a fundamental element of a form, than all of the factors and conditions that are impacting it, become essential to the form itself - it can not be viewed as a separate entity any longer – it becomes evident that its actual structure and the conditions shaping it along the streamlines of change/time are fused and working in essentially interconnected way.

In the time scale that is experientially observable to us, this aspect can best be seen in the behavior of liquids – liquids continually and in real-time take the form of the surrounding conditions, representing by the very nature of emergence of the resulting form, always an ‘ideal’ response to them, one of the least energy. They continually ‘readjust’ themselves and do not have a form of their own, they mold to what contains them. Solids in the essence behave in the same way as liquids do; it is just that in the current time scale this is not immediately perceivable. The change/time would needed to be a ‘fast forwarded’ in order for this to be observed.

The differences are outlined in the way the forms are perceived – from seeing them as ‘frozen’ frames in time, to seeing them as continually moving and changing entities. After the differentiation is made, two modes of approach are described – planning in the mind that so far has most often been giving the ‘fixed’ (determined) solution to identified conditions, and spontaneous creation that happens independently of the human mind, and that is a continual in its actualization, something that can be observed as a fundamental process in Nature and its inseparable quality.

While organic architecture involves no or very little planning, the ability to predict situations with a high degree of certainty requires the skills which are much greater than what the ‘instantaneous’ planning requires. In this respect, being able to take the control of spontaneous and living processes in the Universe seems more of a step ahead and it is not to be seen in any case as something in-between planned and organic.

It is suggested that changing the way in which we think about the forms to view them as inseparable of the flux of change, can give birth to a ‘higher’ level method planning, where parameters of change/time are included in the initial description and the basic structure of the form, giving it an integrated response mechanisms and a living entity qualities.

The systems that are the most ordered, have the least capacity for change. The organizational structures of matter that show the greatest capability for morphing and adaptation are the fluid states. Although there are rules governing their behavior and setting their limits, the positions of the individual particles and even their emergent behavior at macro scale can not be fixed. They take on the form of what contains them becoming a real-time ‘cast’ of the surrounding conditions.

The space is not as linear and predictable as initially thought. The illusion of living in, what is perceived as a ‘solid’ and ‘fixed’ world, comes from living in an infinitely small time interval and an infinitely small segment of space – and only here, in our visible world, it is that the things still bear the illusion of permanence.

For complex requirements, giving the design in a ‘neutral’ ‘undetermined’ configuration, which later is applicable to numerous possible situations, seems to produce much more flexible solution. This opens up the possibility for designing the essence of the objects or of the events that, instead of specifying the final form, inform of their nature in less specific way, creating more space for the emergence of a solution which would be truly the answer to the conditions – their real-time and real-space cast.

Parametric approach to architecture is starting to make possible, although this has not become too apparent yet since the matrixes still produce the fixed results, a way to work with these interrelated factors in definition and creation of geometry. It is presenting a way to describe not the actual fixed form, but the correlation of factors that are all becoming the essential to the description of a form. In addition it is becoming possible to link the external data to it.

Most importantly, it is suggested that the spontaneous processes of change present a very powerful source of energy. The knowledge that would enable ‘connecting’ the forms with the processes and fluxes that are already in place, would empower in a sense that instead of giving a solutions that are made to withstand the change and in principle work against it, it would present a mean of ‘tapping’ into these resources.

Spontaneous processes, so far observed as an essential processes of organic and inorganic world, once set in motion, are shaping the matter by taking the path of least resistance, into formations that give very perfect responses to a certain set of conditions, regardless of how complex or simple these are. This is an imminent process and can be seen on every single level of existence.

‘Directed’ in this way, the design would only have to be given in a ‘seed’ form that, once placed in existence, would become susceptible to existing set of conditions and the very acting of these conditions would ‘shape it’ continually, in the envisaged direction. In this context, a ‘concrete geometry’ becomes resultant of continual actualization of the moment now, a form always recalculating itself as a real-time response.



Download white paper version / . PDF download /

Friday, August 28, 2009

Structuring of Forms and Materials in Relation to Time – Design Research, a draft, part I



/structuring of forms and materials in relation to time/

The purpose is to conduct a research in structuring of forms using computation methods, with the aim of investigating possibilities of application of these findings into architectural design.

The intention is to look into the series of spontaneous changes that the systems are morphing through, from solid states to liquids, and the underlying rules that keep different systems together - their mathematical relationships and physical basis.

With the intent to investigate the systems that are ordered in comparison to the one that are disordered, solid states in comparison to dynamic systems, such as liquids, to compare the amount of entropy in these system and micro-interrelations, their consistency, i.e. how these forms dynamically and structurally hold together as one entity.

Exploration of these issues is directly related to time. Change involves time, and it is a fundamental part of it. Without time, matter is in a sort of 'frozen', idealized still state and there seems to be no such a formation in nature as a stable assemblage.

/solid states vs liquids/

The primary aim is to look at the system formations, their micro scale arrangements and the subsequent tendencies of behavior at the macro level, consistencies of the materials and their emergent behaviors at macro scale. Especial interest is researching the succession of changes that these systems are going through as they change their states from solid states to liquids – their composition, working structure and the organization.

Through the use of computation methods and mathematical algorithms, it becomes possible to test, analyze and visualize the findings, deriving the set of interrelations that could be consequently interpreted into the architectural form. Computation methods and forms that 'appear' in visual form present the possibility to work with the design at many different levels - among others, related to a timeline, as with film editing – mixing, stretching, reversing etc. different data forms.

Translated into the design form, these less visible dimensions of an organization are something to be visualized. At micro scale, the properties of the physical substance as it goes through the change, and at macro scale, an organizational hierarchy and the formation processes of these systems, with the goal of finding how these processes could relate to the design and architectural practice.

/force of spontaneous change/

The real interest is in working with ideas conceptually, finding the new strategies and implementing them in the derivation of the architectural form, with a goal of developing concrete methodology out of it and starting to test specific projects. Particular interest is in using the advanced design technologies, computer programming for design process and in the usage of advanced digital application for architectural practice.

This approach is seen as necessary to shift things in the direction that will allow for multifaceted data manipulation and analysis, the models that will extend to include the time data – allowing the matrix of change to be translated, implemented subsequently into the design model, ie. the form, and as the final objective using the power of spontaneous change whose occurrence is evident on every level of experience, to run the physical models eventually for us, in the direction that is envisaged.

Realizing and implementing this force of change, ie. the flow of matter, will potentially present a very powerful resource, whose occurrence in the architectural practice so far has been seen more along the lines of the external conditions, a sort of a consequence, rather than seeing it as a very potent source.



Wednesday, July 8, 2009

End of term reviews 4ofseven Design Studio Graduate Programme, Faculty of Architecture at the University of Belgrade

4ofseven Master Unit run by Djordje Stojanović

samples of student's work:
Vladan Stevović

Vladan Stevović - an objectified data

Marko Stojković

Museum of Science and Technology - Offspring
rehabilitation and conversion of an old warehouse construction into a space to house the new Museum of Science and Technology Pavilion


4of7 STUDIO REVIEWS, MASTER UNIT | May 30, 2009

Guest Critics: Bojana Vuksanović, Danilo Dangubić
Invitation: Djordje Stojanović

Thursday, June 11, 2009

Following the invitation by Mirjana Devetaković, I will be visiting the Generic Explorations Generative Research Group of the Faculty of Architecture, the University of Belgrade, during stay in Belgrade at the end of this months.

More details on works of the Generative Research Group available at: Generic Explorations website.

Sunday, May 17, 2009

gh definition surface population/test

00014
gh definition test
00014 test rhino/v-ray rendering engine

based on 'Bounding box, divide interval and box component' definition found at ARTC MIAMI / ARTC Miami / (requires registration/otherwise free)

gh definition / download /

Tuesday, April 14, 2009

Invitation by Djordje Stojanović of 4ofseven and Superfusionlab to be a guest critic at the final reviews of the 4ofseven Design Studio Graduate Programme, Faculty of Architecture at the University of Belgrade.

4of7 Design Studio, leading to Masters of Architecture Diploma, is put together by Djordje Stojanović as a "way of thinking between architectural profession and academia". The studio works in the direction and with a special interest in building information technologies, integrated design processes, complex geometries and generative approaches to design.

The reviews are to be held Tuesday 30th June 2009. 10.00am start (subject to a flux of perpetual flexibility)

I am especially looking forward to it, since 4of7 is one of very rare studios in the region of the former Yugoslavia that is concentrating search in this area of designing.

links:

www.4ofseven.com
www.superfusionlab.com
4of7 design studio
Faculty of Architecture at the University of Belgrade

Friday, February 13, 2009

Fuck Machine by Charles Bukowski

Set design: Bojana Vuksanović
Direction/adaptation: Neven Samardzić



main scene - the machine


introductory bar scene


final scene - Henry's bedroom

The central piece is the machine - a featureless mechanism controlling all. Henry falls in love with Tanya, a machine with no feelings.

Cast: Kemal Čebo, Mirza Dervišić, Igor Skvarica, Semir Krivić, Belma Salkunić, Alma Terzić; Music: Sasa Peševski

Charles Bukowski's collection of stories available / here /

Many thanks to Osman Arslanagić for his kind help.


Showing 4th of March, 20h, Theater Scena Obala, Sarajevo


Sunday, February 8, 2009


-
'Unspecified Form' / . PDF download /
/writing/

online link: -'Unspecified Form'

CONTENTS

1. Introduction -
2. The cultural background
3. The perfect form
4. Mathematics of space, objects and relationships
5. “Unspecified form” – the ‘cubes’ project
6. Design given as a function
7. Neutral configuration – dealing with the complexity
8. Designing the ‘essence'

Centuries ago Plato already had a notion that there seems to be an ideal, a perfect form (idea=form, Greek), behind everything physical. The ideas that exist in some strange realm of the universe, where things are preconceived, and where their characteristics exist in their purest, conceptual form.

Whether this is true or false, an identical ‘essence’ is evident in a group of the same kind where every entity still remains different and individual, taking its final form only when fused with the conditions in which it exists. It is from this process of physical materialization that uniqueness and individuality are born.

If it were possible to design this ‘essence’, which would then form the basis for the creation of an unlimited number of possible end results, would that than READ THE REST OF THIS ENTRY »



Saturday, December 20, 2008


-
'Planned Spontaneity' / . PDF download /
/writing/

online link: -'Planned Spontaneity'

OVERVIEW

1. Introduction
2. Planning
3. Spontaneity
4. The Issue of Complexity
5. Planned versus Spontaneous
6. Planned Spontaneity
7. Conclusion

Ever since human consciousness evolved, the tendency was there to conquer the nature and put the natural processes under control. Today, we can predict with a very high level of certainty if the various things will or will not happen. These processes often follow a very predictable ‘path’ and it seems that the certain direction of movement and change does exist. The entire universe appears to be on a constant roll.

There are certain things in nature and society which require time to develop. They do not instantly happen. This especially concerns communities and the relationships between people. Urban plans, which, by their very essence, are concerned with these READ THE REST OF THIS ENTRY »



Monday, September 15, 2008

'sketching' with functions

three dimensional model

00021

00014

Friday, September 5, 2008

Tuesday, September 2, 2008



Unnamed




unnamed




Sunday, August 10, 2008

Proposal for the new Academy of Performing Arts, Sarajevo

The brief asked for an inclusion of the two new city theaters to be used by the Academy students and staff for teaching and simultaneously act as the new cultural centers for the events happening at the level of the city.


main facade/north

PRESENCE


The intention was to make a strong presence of the Academy building and the two new theaters in the city of Sarajevo, rising the awareness and been a positive influence on the general consciousness and culture.

With its presence, the 'bodies' of the theaters would be changing energies in the city, impacting the urban structure and the physical matter of the Academy. In the wider context, they would also influence a general consciousness and hope to give some new perceptions.

west facade

south facade



Theaters as 'live bodies', present physically and spiritually in the city of Sarajevo and in the Academy, continually changing them.

bojana vuksanovic - organisation asu 2
organization diagram

ENCLOSE
D WORLDS


Visible and present inside the Academy and externally, the theaters still stay a mysterious, enclosed worlds. The insides of the two theaters are a sort of 'wombs' where the future actors, film directors, scenographers and dramatists are been 'hatched' and 'born'. These introverted environments are there as a place where they can grow and develop. Inside apparently enclosed spaces, there are infinite possibilities, worlds which are free to happen, imagination been the only limit.

facade/three different transparencies

In terms of the geometry and materiality, the 'bodies' of the large and small scene are distinctive from the rest of the Academy building.
The rest of the facade is 'pixelated', made of 'pixels' of three different qualities - a transparent, semi-transparent and opaque. Combination of these 3 pixels of different levels of transparency, with the changes in internal and external lighting, and various events inside the building, a varied and animated facade is achieved.



facade - close up






changing energies/theaters used as a projection screens

The two introverted bodies do not have any external openings. Their external surface is used as a projection screen and it comes alive during the events in the city of Sarajevo, making it changeable as the events in the Academy and in the city change.


Inside the Academy, the two theaters become main centers of the school, a meeting points for the students and places for the exchange of the ideas. All the social spaces are located along the perimeters of the theaters. The 'roof' of the main scene becomes a library with the adjacent media rooms.

The building has no corridors - circulation and communications happen around the perimeter of this 'center bodies'.
They connect all the teaching departments and the teachers offices.

The smaller theater is positioned on the level of the roof, high at the top of the Academy. During the summer film festival, this space opens up to become an open air cinema with the exit on the roof terrace from which the city of Sarajevo can be seen.

view of the entrance

The entrance is beneath the 'floating' theater that is suspended above the entire entrance foyer and also forms its ceiling. The stage and the actors and the public are in the 'floating' body above it. One arrives to the cafe following the ramp from the entrance foyer. Above the cafe there is a double height space from which the volume of the large theater can be experienced.

Proposal for the new Academy of Performing Arts, Sarajevo
01. - 09. February, 2008, Gallery Collegium Artisticum, Sarajevo


Friday, August 1, 2008

Proposal for the New Bridge in front of the Academy of Fine Arts

Sarajevo 2007.

Coinciding geometries - the bridge against the strict order of the Academy





side view of the bridge

Coinciding geometries - the bridge against the strict order of the Academy

Placing the ‘broken’ geometry of the bridge against the strict order of the Academy had an intent of visualizing the two opposing energies that are in place. A thin line invisibly drawn between the two is the ‘axes’ along which the bridge is constructed. The bridge appears fragile, balancing between the two banks of river Miljacka, centrally shifted out of balance. It is held in an equilibrium in that frail moment and its balancing point.

Usually, there are two types of power. In one, the strength comes from its materiality, it is its power of mass and weight, a physical force. The other is of a very fragile kind, although one requiring much greater skills. It shows its strength in virtuosity of balancing of vast energies of moments. Managing to keep them in motion while staying at the point of equilibrium.

The resultant materiality of the bridge is only the one that is necessary to keep this forces stable. At the end becomes unclear if the materiality is the one that realizes the bridge or if the bridge is just a by-product, a physical materialization of the forces that were already in place.

The divisions that happened within Sarajevo during and after the war were at several levels. The resemblance of Berlin wall is still in place, just this time with its margins made present through quiet forces it exerts.

When this happens, there is a wonder, if this was a natural state of things all along, one to which things naturally resumed and to which everything reverted. Or, if the point of balance was really their true state, but the one requiring much greater intelligence and understanding to sustain, subjected to a wave that shifted things to quite different places.


context model/section through the river bed


render/3d/not to scale

Proposal for the new bridge in front of the Academy of Fine Arts, Sarajevo

Proposal for the new bridge in front of the Academy of Fine Arts, Sarajevo
05. - 22. November, 2008, Gallery Collegium Artisticum, Sarajevo


Friday, October 5, 2007

infinite number of possible forms - derivation of liquid cubes

derivation of many variations from a single idea, the design becomes its ‘essence’ - an idea of itself


online link: -'Unspecified Form'

In the project, the form of the cube has been manipulated with the aim of simultaneously obtaining an unlimited number of possible solutions. This approach, in turn, has removed the necessity for specifying any particular form as the end result, since all of the possible outcomes were analysed at once.



image 01/change = zero/objects defined as perfect cubes


Initially, the perfect cube was defined by the software. The characteristics or the ‘essence’ of the ‘cubes’ was clearly defined, specified in terms of minimum and maximum values, as well as in terms of their overall aesthetic quality.

The work with the form was entirely random, i.e. the form could have been any of the shapes shown in the images below (an extract), or just as equally a perfect cube. Form has not been manipulated with a certain result in mind. In fact, no particular form has been envisaged prior to its creation. The final form remained unknown, since only when the parametric value was applied in the controlling field, the resulting form was determined.



image 02/deformations 0073/parametrically induced


The design was considered solely on probabilistic grounds i.e. the forms could or could not result in a certain shape. Paradoxically, although the final form stayed unspecified, an infinite number of its probable states was possible to obtain.

An element of the accidental was interwoven in the creation process, and some possible results unintentionally became more appealing than others.
Although the ‘essence’ of the objects stayed identical, i.e. their formula remained constant, the ‘cubes’ manifested themselves differently in every case. Each of the produced forms is unique.



image 03/deformations 0176/parametrically induced


An identical ‘essence’ is evident in a group of the same kind, where every entity still remains different and individual, taking its final form only when fused with the conditions in which it exists. It is from this process of physical materialisation that uniqueness and individuality are born.

Thursday, October 4, 2007

possibility forms - liquid cubes







online link: -'Unspecified Form'

Wednesday, October 3, 2007

possibility forms - liquid cubes
online link: -'Unspecified Form'



possibility forms - liquid cube/single 071

Tuesday, October 2, 2007

possibility forms - liquid cube/single 097

Wednesday, August 22, 2007

concept models, experiments with form

The more static the system, the less change is possible. The things that show the greatest ability for adaptation and change are those in their dynamic states. Liquids and gases (fluids) are the physical states which are the most flexible. Although there are rules governing their behaviour and setting their limits, their state and their form are not fixed. They are able to take on the ‘shape’ of that which contains them. They are able to ‘mould’ around things, unlike solids.


concept model/liquid forms


concept model/liquid forms


concept model/liquid forms


model photographs/2003