critic: tom WISCOMBE
suckerPUNCH: Describe your project.
cheng GONG & kiem HO: In researching scripted panelizing systems, we sought a script that would maximize our control of the parameters & visual/spatial effects without sacrificing variation and complexity. We rejected typical gradient controls of varying opening patches of different panel types could vary & adapt as abrupt as necessary. We favored scripts that allowed us to build in a higher level of variation while also creating vague, unpredictable relationships between a large multitude of panels.
With this, we took 2 approaches, firstly we found a way to manipulate the UVs along a 3D surface very explicitly, Secondly we built the panels in such a way that created continuities that were more prominent than the seams between individual panels. We first looked at the artist Asao Tokolo and his 2-D patterns that used repeating elements to create an unlimited number of variations and relationships.
We favored clean geometry and multiple levels of specificity.
Going through several iterations that manipulated scale, geometric flow, twisting, shearing, panel types, depth variations & different surface geometries, we investigated the extent in which our script can adapt in creating a complex and versatile skin for our project.
sP: What or who influenced this project?
cG & kH: Tom Wiscombe, Ezio Blasetti, Luis Quinones, Asao Tokolo, Evan Douglis.
sP: What were you reading/listening to/watching while developing this project?
cG & kH: Asao Tokolo, from control to design.
sP: Whose work is currently on your radar?
cG & kH: UNStudio, Coop Himmelb(l)au, Morphosis, Hernan Diaz Alonso, Le Corbusier.
Additional credits and links