Computation for the Performance Space
Following are pieces of work, carried out as a team of 6 graduate students, as part of MBL 514E - Digital Architectural Design Studio. A whole term's assignment was based on the conduction of a play by Samuel Beckett's Endgame by a team of 20 undergrad students in their first year of study. Our goal was to leverage them through the design process with computational methods, without directly governing design decisions.
Preliminary design work presented above was carried out by the undergraduate students, prior to our involvement in the project.
System solutions, created by teams of graduate students. Works selected from the whole studio are presented above.
Studies for auxetic surfaces, utilized as the theater curtain, based on the theme of the play
Computational design applications for performance spaces. Simulating / choreographing the movement of auxetic elements. Transitioning from the abstract to the real.
Fabrication process of a costume piece, based on a virtual mannequin achieved via photogrammetry.
This procedure was translated manually through heavy use of undergrad labor and polyurethane foam.
Computational studies on the design, and manufacturing of inexpensive lighting elements / costumes for the play
Photogrammetry was exploited to rapidly acquire representations of the cast. Costume designs were easily iterated as a result.
Initial design intent for the stage design, developed by the undergraduate students. Featuring silhouette distortion with transparent materials featuring rough surface textures.
Aram Bartholl - “0.16”
Creation of a pixelating panel, inspired by '0.16' by Aram Bartholl, acting as a mediating space where both the projected imagery and the actual performer exist. The rear sheet is opaque fabric, transmitting only the shadow silhouettes of the back-side. Front sheet is thick vellum paper, blurring the silhouette. Cassette structure situated between the sheets limits the blurring effect to cells, creating the pixelation effect. An effect, commonly attributed to computer screens is achieved via analogue methods.
The pixelation panel was used to create a seamless transition between the shadow of an actor ,a projected animation and the shadow on another actor, position behind. Creating an intermediate space between the real, and the abstract.