“A machine is a tool containing one of more parts that uses energy to perform an intended action. Machines are usually powered by a mechanical, chemical, thermal, or electrical means, and are often motorized. Historically, a power tool also required moving parts to classify as a machine. However, the advent of electronics has led to the development of power tools without moving parts that are considered machines.” – Wikipedia
Our proposed concept for the final project stems from the idea of architecture as a machine for living, or more specifically, the human body. The functionality of the human body in and of itself is also often discussed a machine. We want to compound these human-centric concepts of machines, along with the literal process of creating a physical design machine, to create an incredibly intentional and user-specific architecture.
As we are learning about machines and experimenting with different processes of machining, we are recognizing the importance of defining highly specific variables and inputs. We want to create a machine where the human body is the input, with specific variables that vary between individuals.
After doing some initial tests using the body to create drawings, we realized that we needed to more deliberately control the factors and what parts of the human body are the “input”. We are going to next make a list of measurable factors (weight, height, length, ratio, width, etc) of various body parts and create a range to better understand what will best influence the machine with the most intention. We are also going to look at how various people walk, stand, sit, etc, in order to push our machine towards the idea of creating a varied architecture based on the human input.
This first experiment consisted of exploring the path of the body when it pivotes on one foot 180 angle. We layed out paper on the floor and attached an elastic cord between Liz’s feet and in the middle attached a marker. She kept pivoting on one of her feet while we were hoping that the marker would therefore leave semi circle traces on the paper. This initial experiment did not work because the marker started rotating instead of staying vertical and straight. The lack of contact with the paper made us realize that we might be successful by adding many pens to contraption. Because pens were attached in many different direction, we believed that no matter how Liz would move, the pens would still get in contact with the paper.
Unfortunately this experiment did not work because the tension in the eleastic had to be maitained in order to create the same “unit” of semi-circle, yet we were unable to maintain such control over it. Moreover, the more the elastic was in tension (which we would want) the less the markers would touch the paper and leave a trace.
Our second experiment consisted of restraining the body. We were interested in exploring the limits of the body when its joint members are restrained. We started by restraining the knees together and the elbows together, then we followed by joining, with bungee cord, the right elbow with the right knee as well as the left elbow with the left knee. Previously, the pens did not work as marker so we opted for ink on a sponge, where the sponge was then attached to Liz’s elbows and knees. The sponge would then trace every movement of Liz while she was moving on the paper.
Below are the four sponges used with their respective elastics. The sponges worked because they were successful in leaving marks on the paper, and one that is easily traceable.
Below is the artifact that we were able to achieve. We started to notice two types of traces, curves and dots. We are then able to track how the human body moved, weather it was in steps(points) or by draging (lines)
Overall we would say this experiment was pretty succesful in terms of results yet in order for us to include this within a mechanism we started to rethink the process. The input of the body could be a lot more controlled and monitored by doing so we would obtain better results because of the lack of randomness.
This experiment was inspired by body movement, we wanted to create a link between a 2D drawing and a 3D movement. When the body moves, the four most important joint are knees and elbows, we narrowed it down to just the wrists as well as the waist for minimal movements. We started by attaching a piece of canvas to 2 bodies walking in two different directions. Each corners would be attached to the wrists of a person while the middle point would be linked to the waist. Finally we added four points of color dye onto the canvas and added a water bottle pendulum that wold sprinkle water on the canvas over time. The idea was that the water would liquefy the die and depending on the way the bodies moves the water would spread accordingly.
The initial set up of the canvas. Each four deposits is a color that we were hoping would intereact with the drips of the water bottle.
We then took a piece of paper and pressed it onto the canvas in order to analyze the color mix that we obtained from the canvas.
After doing some initial tests using the body to create a drawing, we realized that we needed to more deliberately control the factors and what parts of the human body are the “input”. We are going to next make a list of measurable factors (weight, height, length, ratio, width, etc) of various body parts and create a range to better understand what will best influence the machine with the most intention. We are also going to look at how various people walk, stand, sit, etc, in order to push our machine towards the idea of creating a varied architecture based on the human input.
handcraft influences that create the chaos to still be apparent
come up with how, or versions of how
what are you looking for, what are your desires for the machine/output
assigning language, taking a stance
still frame, capture motion
what does it mean
how it tends to act
how people move – concert grounds, when they go where
changing color at a certain frequency
it is an event, from two sides, multiple cameras at once
this is a shitty youtube version of a concert, make it “high-def”
all about perception
unseen force – immateriality (light vs. magnetism)
the universe organizes itself based on forces
assign language – attraction and repulsion
manipulation, in response, impression
1st run – structural, 2nd run – people, 3rd run…
the information is too pure
record process, sense of behavior, skipping at the end
lure, pull, draw, force, influence, entice, engage
fight/hold/ward – offdrive/force/beat/push – back/awayaversionoppositionresistancenon-compliant
Magnetic Curtain, Florian Kräutli