INTRO
anima_ta is an experimental installation generated by the use of digital techniques and processes proposing a different way of display. It is designed for the exhibition ‘digital topo_graphies’ (http://www.digitaltopographies.com/) to host computer mediated design research projects. Anima means air, breath, and life. Anima is “full of life”, able to change through interior and exterior parameters, to grow or age. The materialized form is a result of merging new techniques of CAD, CNC milling machines with traditional handcraft experience.
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CONTENTS
[images of the installation]
[video of the installation]
[light scenes]
[8 points of experimentation]
[morphogenesis]
[construction]
[transportation]
[credits]
[bios]
[images of the installation]
[video of the installation]
[light scenes]
[8 points of experimentation]
[morphogenesis]
[construction]
[transportation]
[credits]
[bios]
_
LIGHT SCENES
A serial and changeable light scenes scenario was created. All the lights of the installation were controled by a computer. The goal was in 12 minutes duration many different light scenes to be experienced by a visitor. The variety of the light scenes were producing different light effects. Some lights scenes emphasize the exhibit printed projects; other the installation anima_ta and other the exhibition as a whole.
A serial and changeable light scenes scenario was created. All the lights of the installation were controled by a computer. The goal was in 12 minutes duration many different light scenes to be experienced by a visitor. The variety of the light scenes were producing different light effects. Some lights scenes emphasize the exhibit printed projects; other the installation anima_ta and other the exhibition as a whole.
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8 POINTS OF EXPERIMENTATION
1. anima_ta was design by the use of time based software introducing animation techniques in design.
2. surpassing the Euclidean Geometry, the movement in space, perception, and structure become one.
3. in the design process the initial Euclidian grid, a typical tool to produce order and control is mutated to an elastic grid, to a network of ‘nurbs’ that balance between 2 dimensions and 3 dimensions.
4. the differentiation of floor, wall and ceiling and vertical from horizontal it doesn’t exist any more. The display surface is continuous and perception and movement is merged.
5. the final form of the installation anima_ta is described not from vertical and parallel structural frames of sections* but from the longitudinal stripes (isoparms) respecting and emphasizing the dynamism of the form.
6. anima_ta is introducing a different conception of gravity. By producing a net, a wirframe the transference of the loads is not happening vertically neither is concentrated on points.
7. the light variations combined with the perforated printed fabric produce transparent and opaque effects making the installation to appear as a whole volume or as a mesh of stripes and surfaces.
8. computation is used in the whole process both for design and construction providing all the necessary data to CNC machines to produce the initial outline of the sections on MDF sheets, then the metal curved stripes and final the printed fabrics.
*when you have a free form shape the easiest way to ‘describe’ its form is to apply and orthogonal grid on it, and then produce sectional frames which are finally rendered in structure.
1. anima_ta was design by the use of time based software introducing animation techniques in design.
2. surpassing the Euclidean Geometry, the movement in space, perception, and structure become one.
3. in the design process the initial Euclidian grid, a typical tool to produce order and control is mutated to an elastic grid, to a network of ‘nurbs’ that balance between 2 dimensions and 3 dimensions.
4. the differentiation of floor, wall and ceiling and vertical from horizontal it doesn’t exist any more. The display surface is continuous and perception and movement is merged.
5. the final form of the installation anima_ta is described not from vertical and parallel structural frames of sections* but from the longitudinal stripes (isoparms) respecting and emphasizing the dynamism of the form.
6. anima_ta is introducing a different conception of gravity. By producing a net, a wirframe the transference of the loads is not happening vertically neither is concentrated on points.
7. the light variations combined with the perforated printed fabric produce transparent and opaque effects making the installation to appear as a whole volume or as a mesh of stripes and surfaces.
8. computation is used in the whole process both for design and construction providing all the necessary data to CNC machines to produce the initial outline of the sections on MDF sheets, then the metal curved stripes and final the printed fabrics.
*when you have a free form shape the easiest way to ‘describe’ its form is to apply and orthogonal grid on it, and then produce sectional frames which are finally rendered in structure.
_
MORPHOGENESIS
.
By transforming them to ‘soft’ curves, a net of related point-locators, defined exactly in space, was constructed. By introducing gravitation the ‘frozen’ lines became ‘elastic’, supple to the forces applied. The result was differentiated by testing combinations of magnitude and attenuation values. The animation of the curves was paused in the frame of time that provided the desired quantity of the force influence in order to achieve the suitable spatial relationships. These alternative forms lead to a new relation of body and display beyond the Cartesian geometry of 90 degrees. The twelve curves in space are translated into structure and content of the exhibition.
.
The aim was to re-habit the space, reading and re-analysing its basic principles infecting it with a temporary presence, which will “abuse” and dissolve its clearness providing the environment needed for the exhibits. anima_ta form has been generated by an artificial intelligence imitating the morphing of a living organism through environmental dynamics in time.
.
By transforming them to ‘soft’ curves, a net of related point-locators, defined exactly in space, was constructed. By introducing gravitation the ‘frozen’ lines became ‘elastic’, supple to the forces applied. The result was differentiated by testing combinations of magnitude and attenuation values. The animation of the curves was paused in the frame of time that provided the desired quantity of the force influence in order to achieve the suitable spatial relationships. These alternative forms lead to a new relation of body and display beyond the Cartesian geometry of 90 degrees. The twelve curves in space are translated into structure and content of the exhibition.
.
The aim was to re-habit the space, reading and re-analysing its basic principles infecting it with a temporary presence, which will “abuse” and dissolve its clearness providing the environment needed for the exhibits. anima_ta form has been generated by an artificial intelligence imitating the morphing of a living organism through environmental dynamics in time.
_
CONSTRUCTION
The lines, - interpreted into iron sheets - form ‘lofts”, translated into fabric, offering areas for printing and projection. The semi-transparent material will allow light to make the anima(s) loose their solid form and reveal their structure. The use of parametric design gives the digital information in order to direct the construction in detail. The materialized form is a result of merging new techniques of CAD, CNC milling machines with traditional handcraft experience.
The lines, - interpreted into iron sheets - form ‘lofts”, translated into fabric, offering areas for printing and projection. The semi-transparent material will allow light to make the anima(s) loose their solid form and reveal their structure. The use of parametric design gives the digital information in order to direct the construction in detail. The materialized form is a result of merging new techniques of CAD, CNC milling machines with traditional handcraft experience.
_
CREDITS _ anima_ta experimental architectural installation
design:
Yota Adilenidou, Spiros I. Papadimitriou
lighting design:
Aris M. Klonizakis
sponsors-clients:
Technical Chamber Of Greece, Association of Greek Architects, HELEXPO SA
construction:
exposystem
metallic structure:
Theodoros Rafailidis
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BIOS
Yota Adilenidou
Master of Science in Advanced Architectural Design, Columbia NY
Architect, Aristotle University of Thessaloniki
Spiros I. Papadimitriou
March (AA drl), Architectural Association, London
Architect, Aristotle University of Thessaloniki
...........
Aris M. Klonizakis
MSc in Building Environment Light & Lighting, Bartlett, UCL, London
Architect, Aristotle University of Thessaloniki
Yota Adilenidou
Master of Science in Advanced Architectural Design, Columbia NY
Architect, Aristotle University of Thessaloniki
Spiros I. Papadimitriou
March (AA drl), Architectural Association, London
Architect, Aristotle University of Thessaloniki
...........
Aris M. Klonizakis
MSc in Building Environment Light & Lighting, Bartlett, UCL, London
Architect, Aristotle University of Thessaloniki
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