Christopher Malin produced this video by using ‘image stacking’ software and the archive of photos taken from the International Space Station. Using software called StarStaX he creates landscapes of light and spaces conjured through a digital photographic process. The video becomes a strange landscape of stationary-movement.
By combining the software designed for star-trail imagery with other light sources, curious ephemeral architectural effects might be achieved such as this photo by flickr user Ningaloo:
Between the 22nd and 30th June the Unit Four show was presented as part of the Bartlett’s Summer Exhibition. Inspired by the notion of a Pastel Alcatraz, the students developed a typology of bespoke model tables derived from the overlaid grids and bars we photographed in the prison block itself as part of our study trip.
The unit also designed and edited their own newspaper detailing their travels to SF and the projects and research it inspired. Edition of 500 is sold out, but an online version of the publication can be viewed on the Newspaper Club’s Newsagent:
Many thanks to all of the students who put on a great show and expended much effort across the whole year resulting in some wonderful work, particular congratulations to Brook Lin who received the Donaldson Medal as the top graduating student as well as the Fitzroy Robinson drawing prize and RIBA Bronze Medal nomination – as well as Matthew Lyall in Yr2 who received the Narinder Sagoo drawing prize and Luke Scott who was on the Dean’s List for achieving a first class degree.
Unit 4 2011-12: Yr2 Sonia Ho, Jackey Ip, Ness Lafoy, Matthew Lyall, Isobel Parnell, Carina Tran
Yr3: Kacper Chmielewski, Charles Dorrance-King, Brook Lin, Luke Scott
Concept artist Roel Jovellano uses a time lapse video to demonstrate his process of designing a weapon structure for the forthcoming game Planetside. It is interesting to note the methods by which the design is realised, first through quick digital sketches using a tablet, through to a 3d model fleshing out these concepts into a ‘physical’ form from which a render is taken and then worked back into by (digitised) hand. This composite, conversational way of working between the 2D and 3D, and the rapidity of the thought generating sketch vs. the computer model is increasingly relevant to the ways architects work nowadays – or rather how the visualisation industry produces this composite architectures enmeshed together from layers of ‘true’ (constructed) or ‘false’ (indicative) geometries designed to illustrate the proposition in its most evocative light.
And in relation to architecture students, it gives insight into the potential ways in which atmospheric and textural qualities may be deployed and through digital painting spaces can be augmented to enliven an architectural scene.
Paolo Soleri’s megastructures, studies produced under the banner Arcology, proposed cities as unified structures, becoming extremely efficient in their ground footprint, developing vertically in a series of zones. This drawing was for a 1968 competition winning proposal for a supersonic airport city in New Jersey.
Via Kiel Bryant’s photostream: http://www.flickr.com/photos/kielbryant/103344516/in/photostream/
Visionary comic book author behind Akira and many others:
Illustrator Stephen Biesty produces beautiful exploded cutaway drawings that are brimming with detail. www.stephenbiesty.co.uk
Using inkjet printed graphics and hand painted frames, Benjamin Ducroz blurs the distinctions between digital and analogue techniques for the composition animations. How might this apply to the idea of transitory architectures where the “drawings” begin to show the fluctuating life of a space?