Responsive
Work T.O.gether; an interactive site model + interface with AoUC
Work-TOgether interactive urban design site model + interface from Fishtnk on Vimeo.
May 2010, Gallery52
52 McCaul St. Toronto ON
Visit the photo gallery.
More informatoin on the urban analysic of the exhibition at AoUC.
TSC [Tunable Sound Cloud] 1.0
Tunable Sound Cloud 1.0
Tunable Sound Cloud is a responsive architectural application that allows for real-time modification and enhancement of acoustic performance of space. TSC focuses on our auditory experience of architecture.
Designed with a responsive modular structure and interactive smart surface.
Interfaced through Grasshopper/Rhino 3D modeling tool + Max/MSP software.
Actuated with Arduino micro-controllers/geared motors + SMA wires.
Tunable Sound Cloud 1.0 from Fishtnk on Vimeo.
AoUC; Interactive Urban Analysis
An interactive model designed for analysis of the urban strategies implimented to 5 mile radius around the exhibition at Gallery 52 (52 McCaul, Toronto, Ontario.)
Urban studies and research by AoUC.
More photos: http://www.krop.com/agentsofurbanchange/#/set/46379
Constellation 2.1; Responsive Timisoara
Timisoara, Romania
09 – 16 May 2010
Constellation 2.1 is a responsive environment built for Timisoara Student Festival at D’arc terrace. Map
A revisit to out previous project Constellation 2.0 this project was part of a lecture series in Timisoara,Romania to be followed by a series of workshops in Fall of 2010.
Constellation 2.1 is an interactive installation which responds to the sound of it’s surroundings with a series of microphones and audio sensors. The visualizations projected on the fabric is effected by the sound picked up by the microphones.
Design/ Built team:
Mani Mani, Cosmin Iancu, Dan Crasnic [superman]
Music + Architecture; introducing Tunable Sound Cloud
Tunable Sound Cloud
Beyond acoustics in music performance halls; a responsive sound system for architecture.
My research on Music+Architecture started in 2003 with Professor Gulzar Haider at Carleton School of Architecture. Since then I have been meandering between the two arts/sciences [debatable.] This 6 year search has resulted in a number of art pieces, installations and architectural projects that I will try to dig out and add to this blog as I go. During these years I have learned/worked/collaborated with many different artists,professors, students. hopefully I will get chance to mention their contributions when I talk more about the projects.
It is my goal to keep this research as collaborative as possible and make it a platform for open-source architecture.
In one paragraph:
The Tunable Sound Cloud is a proposal for a layered three dimensional dynamic spaceframe that adjusts to it’s environment with linear actuators driven by micro-controllers. The self-supporting structure, being a ceiling application, is made of an array of triangulated modules that are hinged to one another and folds on itself.The responsive surface layer, actuated with memory alloy wires (muscle wires) will control the apertures of the surface to adjust sound reflection or sound absorption to enhance the acoustic performance of the space.
Intro:
Looking at music in different time periods, from dark ages to baroque, high classical era to twenty first century experimental music, there is a relationship between the architecture of spaces music is composed and performed and how the music is written. In today’s modern or trans-modern era we design we design multi-purpose performance halls and spaces that are so generic that could accommodate any music and program.
I will be looking at responsive systems in architecture and music to design a tunable performance space that could be adjusted to meet the absolute sound requirements for a specific sound performance.
Baroque period 1600-1750
Interior view of Coutances' cathedral, department of Manche, Francephotograph by: Eric Pouhier
Baroque period 1600-1750
Interior view of Coutances' cathedral, department of Manche, Francephotograph by: Eric Pouhier
- Musicians: Bach,Handel,Vivaldi,…
- Architecture: Gothic architecture
- Reverb 3.0-3.2 sec
- Special characteristics of that era: Unaccompanied music ,Contrasting music and vocals
Classical period 1750-1820
- Musicians: Mozart, Beethoven,Haydn,…
- Architecture: Neoclassical architecture
- Reverb 1.8-2.0
- Special characteristics of that era:More popular- published music as entertainment result change in scale of Venue [architecture],More complexity and layering
Romantic Period 1820-1920
- Bayreuth Festspielhaus
- Musicians: Schubert, Puccini, Wagner,…
- Architecture: Neoclassical +Art Nouveau
- Reverb 1.8-2.2
- Special characteristics of that era: Sound/Acoustical engineering,More color and tone in the music, Wagner designs the 1st opera house for his own performance. 1924 grand opera dies; Turandot, puccini.
Modern and Contemporary
Einstein on the Beach 1976
- Musicians: Philip Glass, John Cage, …
- Architecture: Modern architecture
- Reverb: Electronically controlled
- Special characteristics of that era: Music becomes an multimedia performance enhanced by electronic devices.
programmatic topic [the proposal]
Sketches:
This study looks at a dynamic ceiling structure made with two layers:
Spaceframe-structure [Bones]
Surface [Skin]
Structure:
The structure is based on a series of hinged triangular spaceframes, connected and actuated at the top center of the frame to the adjacent frames.
Preliminary sketch of the structural layer:
Skin:
Tunable Sound Cloud; Responsive Surface Study from Fishtnk on Vimeo.
Above is a study of the surface movement with Nitinol wires to control the sound behavior for the Tunable Sound Cloud Project.This study is designed as a 10X10 grid of micro responsive modules [10X10mm units] to control the acoustic properties of the surface.
the physical prototype :
Tunable Sound Cloud, prototype tile from Fishtnk on Vimeo.
below is a study of the system, interfaced through Grasshopper and Rhino modeling platforms, the ceiling structure of the Tunable Sound Cloud is controlled and adjusted to accommodate different acoustical settings.
Actuated with Arduino micro-controller and servo motors.
Tunable Sound Cloud _ responsive ceiling surface from Fishtnk on Vimeo.
Farnswoth wall
Farnsworth Wall is an architectural wall module that uses and harvests solar energy for illuminating indoor spaces. This application, using real-time responses to it’s surrounding environment, creates an engaging experience for people on site. The Farnsworth wall is a modular paneling system built as a Structural Insulated Panel (S.I.P.) in a standard 4′X8′ size.
This module can be cut and applied to virtually any existing or new construction. A layer of solar panels on the exterior harvests and stores radiant energy and an embedded system of low-energy L.E.D. lights on the other side illuminates the interior space.
Farnswoth project is an ongoing research with Studio (n-1) at University of Toronto, John H. Daniels Faculty of Architecture. Sponsered by Shell Environmental Fund.
Ontology of space in Cmaj7
Ontology of space in Cmaj7
An experiment in music/architecture
This project has been an attempt to compose space from sound. Or capture the space between two musical notes.
Two notes, C and G have been translated through Max/MSP application to a series of numbers. These numbers create coordinates to a point cloud which define a space in Rhino 3D modeling environment. Through a series of exploration with different methods of surfacing some forms and objects were contrived. Each note created a virtual object that was unrolled and unfolded to a group of flat surfaces.
These surfaces were translated through a laser cutting method to two physical models. Each model representing a note became a base for a network of stretchable fabric to connect the inside edges of the two panels together. The space captured between the surfaces is a note between C and G which expresses a Cmaj7 chord.
December 2007
Toronto
Vessel Chair; a prototype for the Parachair project
The design of the Vessel chair is driven by the Voronoi tessellation pattern. Part of Parachair collection by fishtnk, Grasshopper™ plugin for Rhinoceros3D modeling platform is utilized in order to model the parametrically designed frame; The chair frame is constructed with one inch plywood, milled with 3axis CNC machine. The seat surface is created by extruding the edges of the structure cut-outs of the frame. The material is flexible polyester resin fiberglass.
The vessel chair is designed as an responsive mass-customized furniture. Designed in Grasshopper/Rhino computer platform the structure is scripted around 3 variables:
The users height, weight + a raster image.
Vessel Chair _ A prototype for parametric furniture from Fishtnk on Vimeo.
Based on these parameters, the algorithm re-calculates the amount of structure needed according to the height/weight ratio of the user and takes away the unnecessary material, changes the proportions to the most optimum dimensions.
The third variable, the users submitted picture, is to be analysed for the colour selection of the chair [this is the part I'm still developing.]
If the user is happy with the outcome the design could be submitted [baked] to be processed as CAM [Computer aided manufacuring] information for CNC milling.
By early 2009 there will be a section of this site dedicated to input of these varaibles and visualizing your chair, if you were happy with out come you can place an order right there!
Responsive Array; a ceiling cloud
This project has taken as its impetus a notion of design that considers structural and
material performativity as a fore-grounded element. It exploits key material properties
in both its projected and final built form. Fabrication methods through formwork,
pouring and milling, as well as the material selection (polyurethane rubber) have thus
been built into the design process from the beginning and continued to play a key part
in the iterative development of the design. Phenomenologically, the design articulates
formal expression through lighting, translucency, and colour.
Find more photos like this on Grasshopper
Formally, the design utilized parametric software to take a simple non-UV tessellation
pattern, in this case a 2D voronoi, as the starting point for an alternative approach to
generating a differentiated field of mass-customized, but still self-similar components.
After pre-designing in Rhino the desired component, the basic voronoi script was
then linked to a series of lofted shapes, surfaced, and programmed with variables to
control part profiles, offset distances, support hole apertures, and voronoi fillet radii.
This paramaterized script then gave the designers multiple controls over the overall.
in collaboration with Nathaniel Addison, Jonathan Cummings, Safora Khoylou.
Constellation 2.0; a responsive installation [environment]
![Constellation 2.0; a responsive installation [environment]](http://farm4.static.flickr.com/3488/3793655627_78a2c23e39_b.jpg)
Constellation 2.0 was a temporary interactive audio/visual installation for the Electric Eclectics festival in Meaford Ontario, 31 July 2009 to 2 August 2009.
This installation is an attempt to engage the visitors with the site and create a unique spatial experience, sensitive to the surroundings with minimum impact on the site. Using tensioned strips of white fabric on light temporary structure and solar powered LED lights, the Constellation 2.0 will create a habitable enclosure that allows small gatherings and engagement with a potential interactive audio/visual installation. During the day, this skin surface will act as a shade while harvesting solar energy for the performance and at night glow and become a screen for the gathering/performance space The scattered light points will be positioned to reflect the stars and the constellations of August night sky, diffused on the white skin and into the field. The light nodes will also become the anchor points for the fabric to structurally connect to the ground. The grass around the nodes will be trimmed by one meter radius to accommodate the visitors stay. The trimmed areas of the field will be connected to one another to create paths and encourage the visitors to explore this unique site.
Constellation 2.0 is responsive to natural and man-made physical pressures in the built environment (Wind, Sunlight) as well as user inputs (tactile/touch). The fabric and tensioned strips are equipped with piezoelectric sensors responding to the wind and people’s interactions. These interactions are manifested in the form of sound and light. For example, the sensed acoustic vibrations are processed and spatialized across the nodes and effects the sound and video projection on the surface.
![Constellation 2.0; a responsive installation [environment]](http://farm3.static.flickr.com/2507/3794475882_b31b5720d4_b.jpg){kind=small}
![Constellation 2.0; a responsive installation [environment]](http://farm3.static.flickr.com/2495/3794250058_c64c022d9b_b.jpg)
The Constellation 2.0 stretches for 100′ and is built around 7 nodes.
This project was my collaboration with Cosmin Iancu [Architecture], Navid Navab [sound, MAX/MSP], Jerome DelaPierre [Video, VVVV]
More photos…
Two lives of a white chair; a responsive sculpture
Two lives of a white chair; a responsive sculpture from Fishtnk on Vimeo.
This piece is a revisit to a series of my studies in architecture and furniture design; a second chance for the elements and ideas that were developed but never made it with the final piece. Two lives of a white chair is an attempt to capture the malleable design process and the impressions of site and surroundings on our subconscious.
Constelation 2.0; A prototype, an attempt for improvised architecture
An installation proposal for Electric Eclectics Festival,
Meaford, Ontario, Canada
31 July to 2 August 2009http://www.electric-eclectics.com/
The biggest achievement of this project was being able to improvise architecture/design to create a built environment. General parts of this piece were thought through and tested on other projects. But similar to other disciplines of arts, with a general knowledge of your abilities and willing to accept the unexpected you can improvise the architecture. Next step is to communicate and trust the other artists involved to jam with you. [Jamming architecture?]
We were lucky that both our sound and visual artists were well practiced in improvised projects.
More photos…
This installation is an attempt to engage the visitors with the site and create a unique spatial experience, sensitive to the surroundings with minimum impact on the site. Using tensioned strips of white fabric on light temporary structure and solar powered LED lights, the Constellation 2.0 will create a habitable enclosure that allows small gatherings and engagement with a potential interactive audio/visual installation. During the day, this skin surface will act as a shade while harvesting solar energy for the performance and at night glow and become a screen for the gathering/performance space The scattered light points will be positioned to reflect the stars and the constellations of August night sky, diffused on the white skin and into the field. The light nodes will also become the anchor points for the fabric to structurally connect to the ground. The grass around the nodes will be trimmed by one meter radius to accommodate the visitors stay. The trimmed areas of the field will be connected to one another to create paths and encourage the visitors to explore this unique site.
Constellation 2.0 is responsive to variouse natural and man-made physical pressures in the built envioronment (Wind, Sunlight) as well as variouse user inputs (tactile/touch). The fabric and tensioned strips are equipped with piezoelectric sensors responding to the wind and people’s interactions. These interactions are manifested in the form of sound and light. For example, the sensed acoustic vibrations are processed and spatialized across the nodes. (This paragraph is to be refined, edited, and expanded on… notes: the Tensioned strips could possibly work as wind-harps given the tension and width are suitable. We can include one cheap light sensor somewhere to make the sound-space react slowly to the sun’s movement.)
in collaboration with: Cosmin Iancu, Navid Navab, Jerome Delapierre
