Yfactor

See example above.

One very powerful way to get variation in scale is through Cage Editing in Rhino.

1. Type ‘Cage’ at the command prompt.

2. Create a rectangle in the top view around the objects to be scaled. Hit enter at height prompt.

3. The x, y and z point counts should be between 4 and 6. This will depend on the size of the objects you are editing. After using a few times, you will have a sense of this. In general, the lower the number the more control and the more global the scaling.

4. Type ‘CageEdit’ at the command prompt.

5. At the ‘Select captive objects’ prompt, select all the objects within the cage to be edited. Hit enter.
6.  At the ‘Select control object’ prompt, select the cage.

7. Enter ‘Global’.

8. The control points of the cage will be highlight. Move them as you did with edit or control points on the 2d profiles.

9. Make sure ortho is on when you edit. Note that the tectonic connections are maintained.

Note the variation in density and intensity of the below 2d images through the scaling and displacement of a simple component. one example uses two components (or systems) scaled to produce variation in density. these organizations can be looked as morphological examples of variation in an x and y, or y and z, etc. plane. there is an interesting amount of variation produced through the simple operation of scaling and displacement.

your morphologies are much more advance and finely calibrated than these. these are simply 2d graphics. so the use of scale as an operative variation needs to be calibrated so as to not subvert the tectonic connections you have made. but in everyone’s case, there is a wealth of variation afforded through scaling. see previous post.
these can also be looked at as organizational examples of programmatic and spatial content. we will discuss the diagramming and mapping of your spatial and programmatic content on monday. but consider that the information that is being represented as diagrammatic content such as: size of spaces, number of bodies present, degree of visual distortion, degree of light infiltration, etc.

so, for example, the density of the graphic information and the distribution of the graphic information can be a map of the value of spaces. the denser moments might indicate a dense occupation of space, i.e., more bodies, more activity, more frequent time changes. the sparser moments might indicate less bodies, less activity, longer time durations. a rule set of your creation, from your programmatic and spatial narratives and matrix, can be mapped into these examples. you will produce similar diagrams/mappings from the content of your site drawings, drape/contour studies and tattoo photos.

these examples show variation in density/intensity through shadows (dark and light)

 http://pressg5.net/yFactor/wp-content/uploads/2008/03/hYper_Scale.3dm

Note the use of scale, in x, y and z (thickness, amount of extrusion) in the above example to provide variation.

the tectonic connection method (in this case based on compression) is maintained but through the scaling of the initial component, variation is achieved.

we can go now begin to talk about this morphological example for what the variation provides:

differing spatial conditions: the large extrusion might be occupiable within, the space between the largest extrusion and smallest ones might be circulation.

differing environmental conditions: light and shadow will work differently in each condition.

this is an isolated fragment separated from a potential larger thickened membrane of the roofscape, but it should allow you to understand the value of scaling as an operation to produce variation.

fill in, add, revise, etc. per your project

hYper_RelationalTemplate.pdf

see rhino tab.

consider the differences and similarities between the two models in the hYper_planar.3dm file.

start to think about an aggregation that utilizes components and tectonic pairs as discreet and highly articulated moments in the membrane (as you have been) as well as the smoothing and blending (rhino technique: loft) of these to produce planes. the ‘resolution’ or articulation of the component is diminished but other opportunities arise.

frei otto:

http://www.freiotto.com/FreiOtto%20ordner/FreiOtto/HauptseiteGross.html

panelite:

http://www.e-panelite.com/

variable membranes:

lace:

note rigidity (i.e., structure) in lace is due to intense density of material.

don’t look at decorative pattern (i.e., graphically), look at it behaviorally, performatively.

how it modulates porosity, how it becomes stiff (rigid) or pliable.

1. structure

a. further development of your mutation pairs/clusters/arrays. a first draft structural framework of the roofscape as a thickened membrane and 3d grid/matrix/mesh is due on thursday.

b. have evidence of research into a structural and/or material system that relates to your burgeoning structural framework.
2. program

a. identify and propose (1) programmatic event that pertains to the concepts of hide/reveal/distort. this event will constitute the program, that is, the content, of your architectural intervention.

b. furthermore, this event must do four things: 1, it must involve duration. i.e., it takes place over the course of a period of time. this period of time could be a day, a month, a season, etc. also, there should probably be multiple durations that overlap. 2, it must repeat. i.e., the event cannot happen once. it can repeat and be slightly different each time, but it must repeat. 3, it must relate to the content of your tattoo. 4, it must deal, either literally or conceptually, with hide/reveal/distort.
c. for example: lets say one of your tattoos is of a butterfly. your programmatic event could be a workshop for a butterfly breeder. 1, it involves duration in the life cycle change from egg to caterpillar to butterfly. it involves the duration of generations of butterflies per your butterfly breeder’s objectives. 2, the repetition of the life cycle from generation to generation. 3, your tattoo is literally a butterfly. in regards to hide/reveal/distort, the coloration of a butterfly is intended as a form of mimicry not unlike camouflage which distorts the visual perception of it. distortion is part of its behavioral attributes. also, the relationship between the egg, caterpillar and butterfly reveals a process of one latently hiding within the other to be revealed at a particular moment when environmental and internal genetic conditions are correct. get the picture.