Spatial/Temporal Sequence

Recombinant Sequence

[Surface model from Maya edited in Form Z as contours to simulate the intersection of paths between the bike and camera. Contoures will be transferred to an AutoCad file in order to edit for physical construction.]

Spatial/Temporal Sequence

Recombinant Sequence
[Vector Graphics from the Digital model of a surface created in Maya]

Spatial/Temporal Sequence

Recombinant Sequence

[Surface created in Maya representing the topography found in the movie 127hrs. This polygon will be used as a base for further modeling in Form Z]

Spatial/Temporal Sequence

Procedural Sequence
[analysis of 127hrs movie scene: Each frame is taken every second, 9 different camera paths]

Compound Geometries

Compositional Surfaces

[Final Layout]

Compound Geometries

Polygon Manipulation | Constructed Morphologies

[using a Model 95 Polaroid Camera and Maya]

Connubial Reciprocities of Surface and Space

"With out the surface, there is no space"

[Monica Ponce de Leon and Nader Tehrani]

Blurring the line between surface and space has become evident in contemporary architecture. When designing we are not looking at the exterior as a separate entity from the spaces created inside. The skin helps define the geometries that compose the building. In their article, Versioning: Connubial Reciprocities of Surface and Space, Monica Ponce de Leon and Nader Tehrani mention the Yokohama Port Terminal as “the only significant building to attempt to absorb programmatic and structural mandates into the envelope.” Incorporating the structure, spaces and skin together, allowed Foreign Office Architects to create a complex and sophisticated building. I think interdisciplinary design can help us achieve the level of complexity in which the exterior and interior of a building merge.