Müntinga | Art Direction
Jan Müntinga - Generative and Parametric Design Art Direction
2015-05-22T00:28:38+08:00
tag:jan.muentinga.com,2005:/
Copyright © 2015, Jan Müntinga
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
Danner Yildiz Architekten
tag:jan.muentinga.com,2015:/danner-yildiz-architekten/
2015-05-16T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="catalog-of-works">Catalog of works</h2>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/1_front.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/2_front.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/3_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/5_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/7_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/9_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/11_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/13_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/15_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/17_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/19_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/27_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/29_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/31_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/33_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/37_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/39_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/41_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/43_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/21_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/23_innen.jpg"></p>
<p><img class="lazy" data-original="assets/portfolio/danner-yildiz-architekten/25_innen.jpg"></p>
Maxnoah
tag:jan.muentinga.com,2015:/max-noah/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="corporate-design">Corporate Design</h2>
<p>
<img src="assets/portfolio/maxnoah/A4-2.jpg" alt="Image">
</p>
<p>
<img src="assets/portfolio/maxnoah/A4-3.jpg" alt="Image">
</p>
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<img src="assets/portfolio/maxnoah/A4-8.jpg" alt="Image">
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<img src="assets/portfolio/maxnoah/A4-4.jpg" alt="Image">
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<img src="assets/portfolio/maxnoah/A4-5.jpg" alt="Image">
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<img src="assets/portfolio/maxnoah/A4-6.jpg" alt="Image">
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<img src="assets/portfolio/maxnoah/A4-7.jpg" alt="Image">
</p>
<h2 id="3d-product-viz">3D Product Viz</h2>
<p>
<img src="assets/portfolio/maxnoah/e6_explosionszeichnung@2x.jpg" alt="Image">
</p>
<p>
<img src="assets/portfolio/maxnoah/e3_mn.jpg" alt="Image">
</p>
<h2 id="broschüre">Broschüre</h2>
<p>
<img src="assets/portfolio/maxnoah/broschuere.jpg" alt="Image">
</p>
<p>
<img src="assets/portfolio/maxnoah/broschuere_3.jpg" alt="Image">
</p>
<h2 id="website">Website</h2>
<p>
<img src="assets/portfolio/maxnoah/screenshot-1.jpg" alt="Image">
</p>
<p>
<img src="assets/portfolio/maxnoah/screenshot-2.jpg" alt="Image">
</p>
Stadt Ulm - Intercultural Guide
tag:jan.muentinga.com,2015:/Stadt-ulm-Intercultural-guide/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/stadt-ulm-intercultural-guide/05.jpg" alt="Image"></p>
<h2 id="situation">Situation</h2>
<p>With its rich tradition as a trading town at the Danube with contacts ranging as far as the black sea Ulm has been a city with an international orientation for centuries. In the course of the general freedom of movement for EU citizens the city of Ulm is exposed to the effects of open labor markets. The increased mobility of potential citizens demands added efforts to attract and retain the brightest minds. To stay ahead in this highly competitive field the city of Ulm decided to restructure and bundle its offers including municipal services and opportunities of cultural and educational institutions under one marketing umbrella.</p>
<h2 id="objective">Objective</h2>
<p>The goal thus consisted of the development of an umbrella visual and destinct derivative visuals for each group of institutions. The respective services are compiled in a intercultural guide welcoming every new citizen. The guide provides a first orientation aid and introduces the respective institutions. Other applications include event announcements in poster and postcards formats, office equipment and a website which digitally provides the contents of the brochure.</p>
<p><img src="assets/portfolio/stadt-ulm-intercultural-guide/01.jpg" alt="Image"></p>
<h2 id="concept">Concept</h2>
<p>The concept recognizes the city of Ulm and its population as an urban field of everchanging immigration, reconsolidation and emmigration. New citizens from a variety of different backgrounds resettle to Ulm. Within the urban field they build up their socio-economic pattern of acivities between the poles of their new life: education, labor, recreation and habitation. The visualization unveils these movements and illustrates the relationship to their respective factors of influence.</p>
<p><img src="assets/portfolio/stadt-ulm-intercultural-guide/02.jpg" alt="Image">
<img src="assets/portfolio/stadt-ulm-intercultural-guide/03.jpg" alt="Image"></p>
Stadt Ulm - B10
tag:jan.muentinga.com,2015:/Stadt-ulm-B10/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="cross-media-campaign">Cross Media Campaign</h2>
<p>After a massive public uproar against the reconstruction of the Stuttgart main station many put the blame on a insufficient information strategy of the authorities. Thus german cities currently make great efforts to transparently inform the public about planned and ongoing construction sites.</p>
<p>The B10 expressway through the city of Ulm is its most important commuting gateway. Overhauling has been neglected for years due to fear of huge traffic congestions. But finally the condition could not be ignored any longer and a large number of construction projects had to be started. To raise understanding for the unavoidableness of the road works we created a cross-media campaign to inform the population of Ulm on various communication channels.</p>
<iframe src="https://player.vimeo.com/video/37651248" width="1500" height="843" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<iframe src="https://player.vimeo.com/video/37651249" width="1500" height="843" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<iframe src="https://player.vimeo.com/video/37651250" width="1500" height="843" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<h2 id="key-visual">Key visual</h2>
<p>Key visuals of the campaign are animated paper models of the respective sites. Each clip explains which repairs need to be done at a current construction site and how long the servicing will need. The aim of this approach is to transparently inform the citizens about upcoming activities. The handmade animations flanked with public consultations assists in conveying the image of a responsive and approachable city administration and avoids the impression of bureaucratic remoteness.</p>
<h2 id="complementary-measures">Complementary measures</h2>
<p>The tv-ads were supplemented by radio spots, posters and flyers, a mobile website with live stream of the current traffic situation at neuralgic spots and an interactive documentation of construction activities.</p>
<p><img src="assets/portfolio/stadt-ulm-b10/flyerbox.jpg" alt="Image">
<img src="assets/portfolio/stadt-ulm-b10/Aufsteller.jpg" alt="Image">
<img src="assets/portfolio/stadt-ulm-b10/webapp.jpg" alt="Image"></p>
Stadt Ulm - 3D Visualisation
tag:jan.muentinga.com,2015:/Stadt-ulm-3d-viz/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="objective">Objective</h2>
<p>3D-Visualization of of the construction site at Ulm’s most neuralgic traffic hub.</p>
<video width="1344x" height="730px" controls="controls">
<source src="assets/portfolio/stadt-ulm-3d/b10.mp4" type="video/mp4">
</video>
Stadt Ulm - 125 Jahre Ulmer Münsterturm
tag:jan.muentinga.com,2015:/Stadt-ulm-125-Jahre-Muenster/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="situation">Situation</h2>
<p>The Minster of Ulm is a stone cast documentation of the worldviews of countless generations of Ulm`s citizens. Its gestalt tells of change of these views and sentiments in the course of its history in which each generation has added its own perspective as a building block. The 125 year anniversary of the completion of the minster´s tower is an opportunity to take an contemporary look at aspects of the city´s visions and views.</p>
<h2 id="conceptual-approach">Conceptual approach</h2>
<p>The construction phases of the frontal view are examined for visual loudness and formative commonality and then grouped into aesthetic contexts of meaning. Using custome developed generative software these groups are then recalculated into an infinite number of self-similar color and pattern combinations. Careful selection of certain color, pattern and background combinations allows the differentiation in specific phenotypes of the same genetic algorithm.</p>
<p><img src="assets/portfolio/stadt-ulm-125-jahre-muenster/125_21.jpg" alt="generative approach"></p>
<h2 id="parametric-differentiation">Parametric differentiation</h2>
<p>The generative concept allows the differentiation of the basic motif into individual variants. The self-similarity of the motifs points to the common frame, the individual characteristics act as a visual-genetic fingerprint of the respective event.</p>
<p><img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/22.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/32.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/41.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/61.jpg" alt="Image"></p>
<p><img width="33.3%" style="float:left;clear:both" src="assets/portfolio/stadt-ulm-125-jahre-muenster/71.jpg" alt="Image">
<img width="33.3%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/82.jpg" alt="Image">
<img width="33.3%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/92.jpg" alt="Image"></p>
<p><img width="25%" style="float:left;clear:both" src="assets/portfolio/stadt-ulm-125-jahre-muenster/102.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/112.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/122.jpg" alt="Image">
<img width="25%" style="float:left;" src="assets/portfolio/stadt-ulm-125-jahre-muenster/125_41.jpg" alt="Image"></p>
<p><img style="clear:both" src="assets/portfolio/stadt-ulm-125-jahre-muenster/125_3.jpg" alt="Image"></p>
<h2 id="sample-application">Sample application</h2>
<h3 id="individual-postcards">Individual Postcards</h3>
<p><em>Kind regards from Ulm!</em><br>
Each postcard is printed only once with each motif. Thus carrying the senders own unique view of his minster into the world.</p>
<p><img src="assets/portfolio/stadt-ulm-125-jahre-muenster/125_4.jpg" alt="Image"></p>
<h2 id="roadshow">Roadshow</h2>
<p>Not everyone is lucky enough to live in Ulm…
But this roadshow touring major german cities with tourist information pavillons and balloon Rides may convey a glimpse of the spectacular view from the Minster’s tower. Ballon Rides ensure public attention, the Pavillon and panels offer further information.</p>
<p><img style="clear:both" src="assets/portfolio/stadt-ulm-125-jahre-muenster/125_5.jpg" alt="Image"></p>
Process oriented adaptive architecture
tag:jan.muentinga.com,2015:/Process-oriented-adaptive-architecture/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>A study of form-finding by agent based modeling and its applicability in a design process. This work was part of a free project at the DHBW Ravensburg.</p>
<h2 id="situation">Situation</h2>
<p>The development and production of consumer goods in companies may be compareable to a process flow. Starting from a basic idea, a potential product passes through a creative process repeatedly involving employees of different departments until it finally reaches the end of the chain as a finished product. In conventional office buildings the spatial separation of the involved actors at a specific point of the process entails long lines of communication. This does not reflect the aforementioned chain of progressive creation. A flexible adaptation to divergent information flows of different projects is also not possible.</p>
<p><img class="nointense" src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_8.jpg" alt="Image"></p>
<p><img class="nointense" src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_9.jpg" alt="Image"></p>
<p><img class="nointense" src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_10.jpg" alt="Image"></p>
<p><img class="nointense" src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_11.jpg" alt="Image"></p>
<h2 id="concept">Concept</h2>
<p>Form finding by freely positionable workplaces driven by project-specific requirements and social interaction. A support framework allows free positioning of individual workplaces. The communication of several workplaces at one height level represents a process node in the flow of information. Employees from various departments can dynamically combine themself to form working groups. Due to the selected position of the agent between the poles of “agent’s department” and “agent’s working group” as well as the lateral constraints of available space, the resulting structure forms a spiraling architecture communicating its inherent information flow.</p>
<p><img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_1.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_2.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_3.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_4.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_5.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_6.jpg" alt="Image">
<img src="assets/portfolio/process-oriented-adaptive-architecture/parametric-architecture_7.jpg" alt="Image"></p>
Fernwärme Ulm GmbH - 3D Visualisation
tag:jan.muentinga.com,2015:/Fernwaerme-ulm-gmbh/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="objective">Objective</h2>
<p>Visualisation of the new “Biomass Power Plant II” build by FUG Fernwärme Ulm GmbH.<br>
<a href="https://vimeo.com/121981276">Watch in HD</a>
<iframe src="https://player.vimeo.com/video/121981276" width="1500" height="730" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe></p>
<p>Generative lightshow for the official opening ceremony and commissioning of the “Biomasse II Power Plant”.<br>
<a href="https://vimeo.com/128379853">Watch in HD</a>
<iframe src="https://player.vimeo.com/video/128379853" width="1500" height="730" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> </p>
Akademische Gesellschaft Stuttgardia
tag:jan.muentinga.com,2015:/Akademische Gesellschaft Stuttgardia/
2015-05-15T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="website">Website</h2>
<p><img src="assets/portfolio/akademische-gesellschaft-stuttgardia/Shape-21-1-11.jpg" >
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/23.jpg" alt="Image">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/33.jpg" alt="Image">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/42.jpg" alt="Image"></p>
<h2 id="semesterzeitung">Semesterzeitung</h2>
<p><img src="assets/portfolio/akademische-gesellschaft-stuttgardia/6_aussen.jpg">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/4_innen.jpg">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/5_innen.jpg">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/1_innen.jpg">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/2_innen.jpg">
<img src="assets/portfolio/akademische-gesellschaft-stuttgardia/3_innen.jpg"> </p>
Adapting parametric methods of contemporary architecture for graphic design
tag:jan.muentinga.com,2015:/thesis-1/
2015-05-13T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2>Introduction</h2>
<p>The increasing availability of electronic data processing, growing social interdependency, and networking are due to changes in societal structures. These developments pose new questions and possibilities for the disciplines of Architecture and graphic design.
The early adoption of parametric methods by architects in the mid-90s led to a wealth of experience ultimately emerging into the school of Parametricism. Parametricism as a style claims to enable architects in innovating novel approaches and methods for understanding and designing spatial communication.
The objective of this paper is to analyze the methodical approaches of Parametricism for its applicability in the context of graphic design. For this purpose, this work will explore the following question:</p>
<p><strong>How are the innovative methods of parametricism to be translated to the field of graphics design, its repertoire, and the configuration-rules of its elements?</strong></p>
<p>Focus of this research will be put on the following:
<ul>
<li>Simulation of:
<ul>
<li>social interaction</li>
<li>information processes</li>
<li>processes of organic growth</li>
<li>physical processes</li>
</ul>
</li>
<li>The intuitive exploration of parametric variations</li>
<li>Data manipulation</li>
<li>Local/rule-based manipulation of repetitive structures</li>
<li>Exploration of mathematic algorithms</li>
<li>Rapid prototyping</li>
</ul></p>
<p>The first part of this work will demonstrate the social and economic development of Fordism towards a post-Fordist network-society and the accompanying architectural styles that ultimately led to the emergence of Parametricism.</p>
<p>The second part will deal with the style of Parametricism, its differentiation from other architectural styles, and its various work methodologies.</p>
<p>The final section explains the utilization, creative concepts, and different methodically approaches of each particular design.</p>
Historic development – Fordism
tag:jan.muentinga.com,2015:/thesis-2/
2015-05-12T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>The introduction of the Ford-Taylorian methods of production marks the beginning of modern architecture at the dawn of the 20th century. Ford’s assembly-line concept not only reorganized the socio-economic fabric of western nations, but also provoked a radically new architectural style and urban layout.</p>
<p><img src="assets/portfolio/historic-development-fordism/modeltassembly_1924.jpg" alt="Fig. 2 Assembly line at River Rouge, 1924" />
<em>Fig. 2 Assembly line at River Rouge, 1924</em></p>
<p>In his monograph “My Life and Work,” Ford demanded the assignment of a fixed workplace for each employee to which the work-pieces would be supplied via conveyor belts.<sup>1 2</sup> Delivered materials and finished products should not cross each other, but should be routed in a single pass through the facility.<sup>3</sup> The operations would be broken down in the smallest possible, optimally coordinated production steps.<sup>4</sup> The place of work should meet the highest standards of cleanliness, brightness and safety. The manufactured products should be uniform mass consumer goods which provide one standardized model for all customers.<sup>5</sup> The staff would consist of above-average-paid, unskilled workers and few skilled workers who conduct the supervision.<sup>6 7 8</sup> The work staff would be directed by technicians and scientists, and the organizational structure would be characterized by flat hierarchies.<sup>9</sup> Each employee would have a well-defined place in the hierarchy with one supervisor and a certain number of subordinates. His or her task would be clearly specified and the execution well versed.<sup>10 11</sup> By implementing these principles, Ford tried to achieve an increase in production, equal and fair distribution of workload, and fair distribution of consumer products. <sup>12 13</sup></p>
<p><img src="assets/portfolio/historic-development-fordism/highrise_city_proposal.jpg" alt="Fig. 3 Hochhausstadt, Hilberseimer, 1924" />
<em>Fig. 3 Hochhausstadt, Hilberseimer, 1924</em></p>
<p>Albert Kahn was commissioned by Ford to build the first large scale production plant that was adaptable to alternating production lines. “Highland Park” was built in 1909 and was the first factory site to allow control over the parameters of the production flow against the principles of differentiation and repetition. The factory site was used to drop the first mass-produced creation off its assembly lines: the famous “Ford Model T”.
Later built production sites, e.g. “River Rouge,” further expanded these principles into comprehensive urban layouts. The individual stages of the production flow were separated in specialized and interconnected buildings. This concept of an “urban machine” sparked interest in a lot of architects, such as Le Corbusier and Hilbersheimer.</p>
<p>Ford‘s ideas and the mobilization of the population through mass-produced cars lead to an overall social momentum at regional and national levels. Architects and urban planners used the principles of his plant management for the design of cities, neighbor-hoods, houses, and apartments.<sup>14</sup> Le Corbusier’s “Athens Charter” formulated the architectural ideology. This led to a strict separation of urban functional areas with the main functions being labour, habitation, and recreation. The individual areas were interconnected with an infrastructure resembling Ford’s assembly lines.<sup>15</sup>
Urban planners and architects saw themselves as “social engineers”.<sup>16</sup> “Like the rational-technical approach to solving problems of the economic sector in this time, they believed ‘rational-technical architecture’ to be an effective tool of (total) social planning.”<sup>17</sup></p>
<p><img src="assets/portfolio/historic-development-fordism/le-plan-voisin.jpg" alt="Fig. 4 Plan Voisin, Corbusier, 1925" /> <em>Fig. 4 Plan Voisin, Corbusier, 1925</em></p>
<p>The introduction of standardized suburban homes was followed by the consistent application of the principles of functionality to the design process of all mass produced consumer goods. Washing machines, television, refrigerators and kitchens („Frankfurter Küche“) were analyzed for differentiability, repetition and integration. Ford‘s ideology marks the jump from an early-industrial bourgeois society to a performance-orientated consumer society shaped by industrial mass production.<sup>18</sup> His ideas resonated with many of the influential architects of the 20th century. Behrens, Gropius, Corb, Mies, Bauhaus, HfG… ultimately the entire vanguard of modern architecture can be traced back to Ford´s principles.</p>
<p><hr /></p>
<p><small>
<strong>1</strong> Ford, H.: Mein Leben und Werk. Leipzig 1923. Page 104.
<strong>2</strong> See ib. Page 93 f.
<strong>3</strong> See ib. Page 94 f.
<strong>4</strong> See ib. Page 94 f.
<strong>5</strong> See ib. Page 54 f.
<strong>6</strong> Ib. Page 156 ff.
<strong>7</strong> See Page 90.
<strong>8</strong> See ib. Page 100 ff.
<strong>9</strong> Ib. Page 106.
<strong>10</strong> Ib. Page 107.
<strong>11</strong> Ib. Page 105 ff.
<strong>12</strong> Ib. Page 111 ff.
<strong>13</strong> See ib. Page 157 ff.
<strong>14</strong> Cf.: Congrès Internationaux d’Architecture Moderne (CIAM): Erklärung von Le Sarraz.In: Conrads, U.: Programme und Manifeste zur Architektur des 20. Jahrhunderts. Berlin/Frankfurt 191964. Page 103 ff.
<strong>15</strong> Cf.: Le Corbusier: An die Studenten – Die „Charte d‘ Athènes“. Paris 1957.
<strong>16</strong> Cf.: Kuchenbuch, D.: Geordnete Gemeinschaft. Architekten als Sozialingenieure. Deutschland und Schweden im 20. Jahrhundert. Bielefeld 2010.
<strong>17</strong> Jüngst, P.: Psychodynamik und Stadtgestaltung. Zum Wandel präsentativer Symbolik und Territorialität von der Moderne zur Postmoderne. Stuttgart 1995. Page 47.
<strong>18</strong> Cf.: Hirsch, J., Roth, R.: Das neue Gesicht des Kapitalismus. Vom Fordismus zum Post-Fordismus. Hamburg 1986.
</small></p>
Historic development – Postmodernism and Deconstructivism
tag:jan.muentinga.com,2015:/thesis-3/
2015-05-11T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/historic-development-postmodernism-deconstructivism/johnson.jpg">
<em>Sony Building New York, Philip Johnson</em></p>
<p>The recession of 1966/67, the 1973 oil crisis, and the collapse of the Bretton Woods Agreement marked the end of Fordism. Fundamental changes in the international markets forced companies to change production from standardized mass consumer goods to diversified product lines for individual target groups. Reasons for this can be found in the following socio-economic changes.</p>
<p>The invention of the microchip allowed the inexpensive production of smaller batches of non-standardized commodities. The computer not only increased the variety of produced goods, but it also made it possible to instantly analyze one company’s business data, the reordering of raw materials, and production of goods in accordance to imminent demand “just in time”. The micro-electronic revolution enabled a more flexible adaptation thus making smaller series of products economically worthwhile. This increasing flexibility was also reflected in an increasing heterogeneity of occupational skills and payment of the workforce. The orientation of companies towards global markets and the accompanied international competition caused decreasing state-control over national markets, the loss of worker rights, the dismantling of welfare benefits, and an accelerated growth of social class differences. On the consumer side, the saturation of basic needs raised the demand for products which reflected an increasing desire for individualization, differentiation and higher living standards. On the part of companies, post-Fordism led to far-reaching changes in internal organizational structures. Hierarchies were reduced by means of decentralization of competencies and responsibilities. Self-organization was promoted instead of bureaucratic objectives. Employees were organized in temporary networks, and, furthermore, teamwork and evaluation gained importance. Biological processes increasingly served as a model of organization. Outsourcing and project-based employment increased. The production of goods was split into individual steps that were carried out by different specialized subcontractors, instead of single integrated enterprises.<sup>19 20</sup></p>
<p>The architectural expression of the time followed this strive for individual fulfillment, authenticity, and self-determination. Post-modernism meant the return to city centers and the emphasis of communicative aspects.<sup>21</sup> Modernism’s emphasis on pure functionalism was rejected as monotonous, repetitive, and uncommunicative.<sup>22</sup></p>
<p><img src="assets/portfolio/historic-development-postmodernism-deconstructivism/decorated-shed.gif">
<em>Fig. 5 Eclectic-House-Series, Venturi, 1977</em></p>
<p>The „Decorated Shed“<sup>23</sup> borrowed its expression from historical models without necessarily maintaining their original functional purpose. With its variegated repertoire of forms it tried to engage in a dialogue with its environment. The façade was revalued to convey a message based on the motto “form follows fiction”. Postmodernism was most prominent between 1975 and 1985, but remained influential until the mid-nineties. The Berlin Chancellery, the Sony Building in New York and the “Piazza d´Italia” in New Orleans are famous examples.<sup>24</sup></p>
<p><img src="assets/portfolio/historic-development-postmodernism-deconstructivism/Vezzoli-Loren-s.jpg">
<em>Piazza d´Italia, New Orleans</em></p>
<p>Since the mid-eighties, Deconstructivism claims to have replaced Postmodernism. Its roots are, among others, in the Constructivist and Futurist movements of Russian art in the early 20th century. Deconstructivism promoted complex spatial collages with overlapping zones and variegated characteristics. It favored variation over repetition, interpenetration instead of separation and isolation.<sup>25</sup> Adequate ideals for the increased complexity of post-Fordist society.</p>
<p><img src="assets/portfolio/historic-development-postmodernism-deconstructivism/deconstructivism_1.jpg"> <em>Fig. 7 The world (89 degree), Zaha Hadid, 1983</em></p>
<p><img src="assets/portfolio/historic-development-postmodernism-deconstructivism/deconstructivism_2.jpg" />
<em>Fig. 9 Walt Disney Concert Hall, Frank Gehry, 2003</em></p>
<p><hr /></p>
<p><small>
<strong>19</strong> Cf.: Amin, A.: Post-Fordism. A Reader. Blackwell, Oxford/Cambridge 1994.<br>
<strong>20</strong> Cf.: Hall, S : Brave new world. In: Marxism today, Oktober 1988. Page 24.<br>
<strong>21</strong> Cf.: Jencks, C.: Die Sprache der postmodernen Architektur – Entstehung und Entwicklung einer alternativen Tradition. Stuttgart 1988.<br>
<strong>22</strong> Cf.: Schumacher, P., Rogner, C.: After Ford. In: Daskalakis, G., Waldheim, C., Young, J. (Hg.): Stalking Detroit. Barcelona 2001.<br>
<strong>23</strong> Venturi, R.: Lernen von Las Vegas. Zur Ikonographie und Architektursymbolik der Geschäftsstadt. Gütersloh 2003.<br>
<strong>24</strong> Cf.: Heindl, G.: Arbeit Zeit Raum. Bilder und Bauten der Arbeit im Postfordismus. Wien 2008.<br>
<strong>25</strong> Cf.: Johnson, P., Wigley, M.: Dekonstruktivistische Architektur. Stuttgart 1988.
</small></p>
Parametricism - Introduction
tag:jan.muentinga.com,2015:/thesis-4/
2015-05-10T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/parametricism-introduction/grasshopper.jpg"></p>
<p>In the mid-nineties, an additional factor gained influence on architectural stylistics: the explosively growing availability of affordable, high-performance computers. Computers enabled the use of novel design methods that eventually lay the foundation for the emergence of Parametricism. “It succeeds modernism as a new long wave of systematic innovation. The style is rooted in digital animation techniques. Its latest refinements are based on advanced parametric design systems and scripting techniques.”<sup>26</sup> The propagandists of Parametricism postulate Parametricism to be the epochal architectural style succeeding Modernism.<sup>27</sup> In their opinion, Postmodernism and Deconstructivism failed to offer definitive solutions to the needs of the post-Fordist society. They view both styles merely as transitional.Postmodernism satisfied the desire for greater variation in formal expression after the monotony of Modernism by employing the reservoir of historical styles and motifs. Deconstructivism further abstracted the idea of complexity and diversity (collage) of the postmodernists and freed them from their ultimately irrelevant historical sources. „Parametricism advanced beyond Deconstructivism by shifting the emphasis from the mere agglomeration of differences to the organization and articulation of a complex, variegated order.”<sup>28</sup> Thus, only Parametricism’s dynamically resonant structures can establish a reasonable dialog with the „fluctuant digital society in the global village“<sup>29</sup> and its social and geographical networks.</p>
<p><hr /></p>
<p><small>
<strong>26</strong> Schumacher, P.: Parametricism. A new global style for architecture and urban design. In : Architectural Design Band 4, Nr. 79, London 2009.
<strong>27</strong> Cf.: Schumacher, P.: Parametricism. A new global style for architecture and urban design. In : Architectural Design Band 4, Nr. 79, July/August 2009.
<strong>28</strong> Cf.: Schumacher, P.: On Parametricism. In: Paper – Platform for Architectural Projects, Essays & Research, Band 4, University of Westminster 2012.
<strong>29</strong> Cf.: McLuhan, M.: The Medium is the Massage: An Inventory of Effects. New York 1967.
</small></p>
Parametricism - from computerization to computation
tag:jan.muentinga.com,2015:/thesis-5/
2015-05-09T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>Mid-nineties architectural studios began to adopt computer-aided design (CAD) as a broadly used tool in their design process. Initially a tool used to aid the creation and visualization of a predetermined design, the computer soon became an exploratory tool eo ipso. Particularly influential is the adoption of 3D-software originating from the fields of 3D Visual Effects and game design. The procedural-parametric approach of SideFX’s Houdini and the scripting capabilities of Maya (formerly Alias/Wavefront, now Autodesk), inspired the incorporation of digital animation and simulation techniques into architectural design processes.
In “Algorithmic Architecture,” Kostas Terzidis distinguishes between computerization and computation. Computerization entails the act of inputting, editing, and storing information on a computer. The term refers to the automation, mechanization, digitization, and conversion of previously conceived, determined, and definite entities and processes.<sup>30</sup> Designs that already exist as a concept in the mind of the designer are digitized and entered into a computer. As part of a design process, this technique was first introduced in the 1960s by Paul de Casteljau, the inventor of the Bezier-curve. <sup>31</sup>
Computation, on the other hand, means the exploration of indeterminate, vague, and undefined processes. “[…] computation aims at emulating or extending the human intellect. It is about rationalization, reasoning, logic, algorithm, deduction, induction, extrapolation, exploration, and estimation. In its manifold implications, it involves problem solving, mental structures, cognition, simulation, and rule-based intelligence, to name a few“.<sup>32</sup></p>
<p><hr />
<p>
<sup>
<strong>30</strong> Cf.: Terzidis, K.: Algorithmic Architecture. Oxford 2010.
<strong>31</strong> Cf.: Boehm, W., Müller, A.: On de Casteljau‘s algorithm. In: Computer Aided Geometric Design. Nr.7. Amsterdam 1999. Page 587-605.
<strong>32</strong> Terzidis, K.: Algorithmic Architecture. Oxford 2010. Page 76.
</sup>
</p></p>
Parametricism - Associative geometry
tag:jan.muentinga.com,2015:/thesis-6/
2015-05-08T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/parametricism-associative-geometry/03.jpg"></p>
<p>Parametric CAD software allows the creation of associative geometric objects that are defined by variable parameters. The manipulation of these parameters allows the creation of variations in real time directly controlled by the operator. Associative geometry refers to the definition of relations between geometries and between geometric and non-geometric entities. The creation of complex designs always begins with a simple basis that is supplemented by further layers. The resulting forms consist of different hierarchies, each with their own set of rules. The single layers and their elements are again linked to one another in the sense that the resulting geometry is called associative. A parametric design method is therefore a method through which the basic elements are arranged in mutually interwoven hierarchies and sub-hierarchies that are then again used as generators to create additional elements, layers and hierarchies.</p>
<p><img src="assets/portfolio/parametricism-associative-geometry/342641079_b648b5383b_o.jpg">
<em>Fig. 12 Blob Architektur, Selfridge Store, Future Systems</em></p>
<p>As a matter of principle, parametric modeling is the processing of information through an algorithmic flow. The purpose of this approach is the easy adjustment of the parameters after completion of the algorithmic process flow. The start point, end point, and each intermediate step remain editable at any time. This makes it possible to create unlimited variants by modifying simple geometric parameters.</p>
Parametricism - Conceptual definition
tag:jan.muentinga.com,2015:/thesis-7/
2015-05-07T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>Parametricism demands the plasticity of all architectural elements. An ontological shift takes place, moving away from the rigid, non-sensitive Platonic solids to a new kind of basic building blocks: Splines, metaballs, particles, and scripts that are capable of reso-nance and interdependence. In the place of the ruler-drawn dead line, there are navigable, complex, and dynamic systems appropriate for modern societies. Parametric buildings are no longer stationary objects; instead, they perceive their environment. They are reactive, malleable, and can accumulate information. They are deformed by information and their deformation becomes information. They are open to external influences of their environment - social influences (streams of visitors, its kind of usage) or local conditions (sun exposure, neighboring buildings, traffic) - and lets them be associated in a wider context.<sup>33</sup> In “Morpho-Ecologies,” Hensel and Menges summarize: “Parametric design enables the recognition of patterns of geometric behaviour and related performative capacities and tendencies of the system. In continued feedback with the external environment, these behavioural tendencies can then inform the ontogenetic development of one specific subsystem through the parametric differentiation of its sub-locations.“<sup>34</sup></p>
<p><hr /></p>
<p><sub>
<strong>33</strong> Cf.: Schumacher, P.: Parametricism. A new global style for architecture and urban design. In : Architectural Design Band 4, Nr. 79, July/August 2009.
<strong>34</strong> Hensel, M., Menges, A.: Morpho-Ecologies: Towards a Discourse of Heterogeneous Space in Architecture. London 2006. Page 32.
</sub></p>
Parametricism - formal and functional definition
tag:jan.muentinga.com,2015:/thesis-8/
2015-05-06T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>Parallel to the main differentiating features of architecture, form versus function, there are two heuristic principles that define an architectural style. On the one hand, there are the functional heuristics that determine the interpretation of the stylistic specification and its functional execution. On the other hand, there are the formal heuristics that define the formal repertoire and the formal execution.</p>
<p><img src="assets/portfolio/parametricism-formal-functional-definition/10636169033_a552f8a051_o.jpg">
<em>Fig. 17 „Garbage spill model of development.“<sup>35</sup><br />„A Collage of styles, pluralism of effects“.<br />„This laissez fair model of urban expansion produced everywhere a disorienting visual chaos, an isotropic ‘white noise’ without the chance to create urban identities.“<sup>36</sup></em></p>
<h2>Negative formal principles</h2>
<p>On the side of negative formal principles, there exists the taboo of using rigid Platonic solids because they are not malleable. Furthermore, Parametricism forbids repetition due to its lack of diversity and dictates the avoidance of mere dissimilarity since its leads to collages of disjointed elements.
Parametricism rejects these principles, which have guided architecture since 5000 years. Instead, Parametricism declares the intricacy of self-organizing models of Nature as an ideal of appropriate architecture.</p>
<h2>Positive formal principles</h2>
<p><img src="assets/portfolio/parametricism-formal-functional-definition/otto-3-300x300.jpg">
<em>Fig. 21 Material computation, Frei Otto, 1970s</em></p>
<p>Parametricism identifies Frei Otto as a pioneer. At the “Institut für Leichtbau” in Stuttgart in the mid-sixties, he analyzed self-organizing processes using experimental “material computation”. Particularly noteworthy is his work with wet woolen threads and styrofoam particles to simulate self-organizing traffic routes and settlement growth.</p>
<p>Today, Otto’s analog „programmed“ imitations of natural processes and systems of rules can be reproduced through the use of digital simulation and animation techniques. Parametricism, therefore, designates the use of malleable, reactive, and resonant elements as a positive formal principle and dogma. The used elements are intelligent and interact internally between correlated hierarchies and externally within differentiated urban fields.</p>
<h2>Negative functional principles</h2>
<p>Listed as taboos is the application of architectural stereotypes and conventional standards. Furthermore, the aim for social homogenization was also taboo, as the post-Fordist society no longer consumed standardized mass consumer products. Finally, the separation and segregation into isolated functional sections was also considered taboo.</p>
<h2>Positive functional principles</h2>
<p>As positive functional principles following dogmas are formulated. All functions should meet flexible event scenarios. Their modeling may be achieved for example, by „crowd simulation“ or „agent based modeling“ of small, medium and large crowds of people with varying behavioral parameters. The respective purpose dictates the utilization of appropriate software and tools, and, last but not least, once again, the consistent communication of all elements involved.</p>
<p><img src="assets/portfolio/parametricism-formal-functional-definition/positiveformaldef-1.jpg">
<em>Fig. 23 Chrysalis (III), Andrew Kudless, 2004</em>
<img src="assets/portfolio/parametricism-formal-functional-definition/positiveformaldef-2.jpg">
<em>Fig. 24 Manifold Installation, Andrew Kudless, 2004</em>
<img src="assets/portfolio/parametricism-formal-functional-definition/positiveformaldef-3.jpg">
<em>Fig. 22 nonLin/Lin Pavilion, Marc Fornes & Theveryman, 2011</em></p>
<p><img src="assets/portfolio/parametricism-formal-functional-definition/Kartal-Pendik-Masterplan_1.jpg">
<em>Fig. 16 Kartal-Pendik Masterplan, Istanbul, Zaha Hadid Architects: A self-differentiating genotype generating extreme varied situations in an urban field whose set of rules can still be derived at any location.</em>
<img src="assets/portfolio/parametricism-formal-functional-definition/Kartal-Pendik-Masterplan_2.jpg">
<img src="assets/portfolio/parametricism-formal-functional-definition/Kartal-Pendik-Masterplan_3.jpg"></p>
<p><img src="assets/portfolio/parametricism-formal-functional-definition/photoskin.jpg">
<em>Fig. 15 Reactive surface, alivingarchitecture</em></p>
<p><hr /></p>
<p><small>
<strong>35</strong> Schumacher, P.: Parametricism: My Kind of Town. The Parametric Jungle. In: Architecture Today. Nr. 227. London 2012.
<strong>36</strong> Cf.: ib.
</small></p>
L-tree Haiku
tag:jan.muentinga.com,2015:/thesis-9/
2015-05-05T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/l-tree-haiku/ltree-1.jpg">
<em>Source geometry of the L-tree</em>
<img src="assets/portfolio/l-tree-haiku/ltree-2.jpg">
<em>Iteration 1 of the L-tree</em>
<img src="assets/portfolio/l-tree-haiku/ltree-3.jpg">
<em>Iteration 2 of the L-tree</em>
<img src="assets/portfolio/l-tree-haiku/ltree-4.jpg">
<em>Iteration 3 of the L-tree</em>
<img src="assets/portfolio/l-tree-haiku/ltree-5.jpg">
<em>Parametric variation of the L-tree</em>
<img src="assets/portfolio/l-tree-haiku/ltree-6.jpg">
<em>Parametric variation of the L-tree</em></p>
<p>Haikus are a traditional style of Japanese poetry. Classically, they consist of 5 - 7 - 5 syllable units. Modern German haikus usually consist of fewer than 17 syllables. They are characterized by their concreteness, the uniqueness of the situation, and the use of a natural object as an object of contemplation. Core elements of a haiku are contrast and juxtaposition (kireji).</p>
<p>In the chapter „The Breach of Meaning“ in „Empire of Signs,“ Roland Barthes notes that haikus are beyond the attempt of interpretation and penetration in a Western manner. “Deciphering, normalizing, or tautological, the ways of interpretation, intended in the West to pierce meaning, i.e., to get into it by breaking and entering … cannot help failing the haiku; for the work of reading which is attached to it is to suspend language, not to provoke it.” Rather, it is a matter of shattering and canceling one’s mind.<sup>38</sup> Through the loss of the significant meaning, the meaningful determination of the language is interrupted. The language is set free for an aesthetic contemplation.<sup>39</sup></p>
<p><img src="../../assets/portfolio/l-tree-haiku/ltree-frei-otto-300x210.jpg">
<em>Fig. 29 Tree Structures Project, Frei Otto, 1960</em></p>
<p>This work deals with semi-autonomous decoration of fonts using Lindenmayer systems (parametric L-systems). Lindenmayer systems are parallel rewriting systems that iteratively mimic natural growth processes. In the domain of 3d-VFX and game design, they are used for the generation of trees and other flora. Architects use them, for example, in the construction of supporting frameworks and load-bearing structures. The combination of haiku and l-systems in this work is based on the irritating multiplicity of parallels and contrasts: organic growth versus digital computation while simultaneously complying to similar rule sets, temporal uniqueness versus a continuous growth process… etc.</p>
<p>The grammar and manner of functioning of a simple Lindenmayer system can be illustrated by the following tuple:</p>
<div class="highlight"><pre><code class="language-ruby" data-lang="ruby"><span class="n">L</span> <span class="o">=</span> <span class="p">(</span><span class="n">V</span><span class="p">,</span> <span class="n">S</span><span class="p">,</span> <span class="n">R</span><span class="p">),</span>
<span class="ss">Where</span><span class="p">:</span>
<span class="n">V</span> <span class="o">=</span> <span class="no">Set</span> <span class="n">of</span> <span class="n">replaceable</span> <span class="n">elements</span> <span class="p">(</span><span class="n">variables</span><span class="p">)</span>
<span class="n">S</span> <span class="o">=</span> <span class="no">Initial</span> <span class="s2">"axiom"</span><span class="o">-</span><span class="n">string</span> <span class="n">from</span> <span class="n">which</span> <span class="n">to</span> <span class="k">begin</span> <span class="n">construction</span>
<span class="n">R</span> <span class="o">=</span> <span class="no">Set</span> <span class="n">of</span> <span class="n">rules</span> <span class="n">against</span> <span class="n">which</span> <span class="n">variables</span> <span class="n">are</span> <span class="n">to</span> <span class="n">be</span> <span class="n">replaced</span> <span class="n">with</span> <span class="nb">constants</span> <span class="ow">and</span> <span class="n">variables</span><span class="o">.</span>
<span class="no">The</span> <span class="n">rules</span> <span class="n">are</span> <span class="n">used</span> <span class="n">iteratively</span> <span class="n">starting</span> <span class="n">from</span> <span class="n">the</span> <span class="n">axiom</span> <span class="n">string</span><span class="o">.</span> </code></pre></div>
<p><img src="../../assets/portfolio/l-tree-haiku/l-tree-300x242.jpg"></p>
<p>This work’s initial geometry is used as an axiom. Its characteristics – the length of curves, its curvature – are utilized as variables to create additional self-similar geometry. The parametrically alterable set of rules controls the length limit of the added geometry, the min/max randomization of its inherited length, the number of branches and the min/max of the inherited curvature degree.</p>
<p><hr /></p>
<p><small>
<strong>38</strong> Barthes, R.: Das Reich der Zeichen. Frankfurt a. M. 1981. Page 98.
<strong>39</strong> Cf.: Barthes, R.: Kritische Essays III. Der entgegenkommende und der stumpfe Sinn. Frankfurt a. M. 1990. Chapter 1.3.2.
</small></p>
Structural integrity of fonts
tag:jan.muentinga.com,2015:/thesis-10/
2015-05-04T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="../../assets/portfolio/structural-integrity-of-fonts/structural-integrity-e1426155714427.jpg">
<em>Results of the simulation. Form finding through deformation.</em></p>
<p>In “Critical Essays Volume III,” Roland Barthes argues that by using a structuralistic perception of language, the individual letter shows itself as an atomism of a universal and, thus, determined language system. The individual letter itself – based in a language system – appears to be meaningful. The following approach interprets letters as detached from a language system. The single and contextless letter will appear as “Adamic state of language”. “It is the before the guilt because it is the language before discourse, before the syntagma.” The demolition reinforces the original state of the letter on behalf of the language system by unfolding the aesthetics of the letter as an end in itself and wants to be understood as a structuralistic, linguistic, and cultural critique.</p>
<p><img src="../../assets/portfolio/structural-integrity-of-fonts/frei-otto-STRUCTURAL-STUDIES_1962-63.jpg">
<em>Fig. 36, Frei Otto, structural studies, 1962-63</em></p>
<p><img src="../../assets/portfolio/structural-integrity-of-fonts/frei-otto-cooling-tower-project-1974.jpg">
<em>Fig. 37 Cooling tower project, Frei Otto, 1974</em></p>
<p>Vertex-Spring systems are used in architecture and 3D-VFX for the simulation of textile surfaces and generation of minimal Surfaces. For this, links between the individual vertex-coordinates are treated like coil springs and their simulated behavior is calculated under the influence of external forces like wind or gravity. By choosing suitable parameters for the springs, it is possible to simulate stiff materials like iron sheets as well. Well-known examples of their use are Gaudi‘s Sagrada Familia and Frei Otto’s roof of the Olympic Stadium in Munich (both analog simulated examples).</p>
<p><img src="../../assets/portfolio/structural-integrity-of-fonts/SCREENSHOT-01_structural-integrity.jpg">
<em>Fig. 38 Tesselated character</em></p>
<p>Due to the different treatment of the font’s plane and curved surfaces through the tessellation algorithm, the subdivision of its nurbs surfaces into polygons, volumes of different structural strength are formed within one character. Curved volumes are generally stiffer than flat regions due to the higher structural resolution.
During the simulation each font is accelerated and the deformation at impact on a collision object is calculated and stored. However, the simulation has its limitation: the simulation does not calculate tearing of geometry and does not recognize intra-geometric penetration.</p>
Font waffling
tag:jan.muentinga.com,2015:/thesis-11/
2015-05-03T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><strong>This Is Just To Say</strong><br>
I have eaten<br>
the plums<br>
that were in<br>
the icebox<br>
and which<br>
you were probably<br>
saving<br>
for breakfast<br>
Forgive me<br>
they were delicious<br>
so sweet<br>
and so cold<br>
<em>by</em><br>
<em>William Carlos Williams</em></p>
<p><img src="assets/portfolio/font-waffling/font-waffle-1.jpg">
<img src="assets/portfolio/font-waffling/font-waffle-2.jpg">
<img src="assets/portfolio/font-waffling/font-waffle-3.jpg">
<img src="assets/portfolio/font-waffling/font-waffle-4.jpg">
<img src="assets/portfolio/font-waffling/font-waffle-5.jpg"></p>
<p>This work links form finding through sound encoded emphasis with techniques of rapid prototyping. The used text is Hans Magnus Enzensberger’s German translation of William Carlos William’s Poem “breakfast”. The selection of the poem by the author was solely due to a certain emotionality in the text.</p>
<p>Waffling is a technique for prototy-ping small architectural models for the purpose of assessment. However, it is also used for the design of structural support in buildings.</p>
<p>To create the characters in a first step, the average audio volume of pronunciation of each individual letter was determined in Grasshopper. A three dimensional letter-Brep was then created, which is intersected by a grid of curves. After calculating the overlapping parts of the curve, the intersecting points were translated by the aforementioned mean value of sound volume. The deformed curves were then extruded, scaffolded with support struts, and placed on a cutting plan for further proces-sing in a laser cutter or plotter.</p>
Equipotential Poem
tag:jan.muentinga.com,2015:/thesis-12/
2015-05-02T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/equipotential-poem/equipotential-field.jpg"></p>
<p>This work investigates how to combine the psychotherapeutic technique of Systemic Constellation and the simulation of equipotential surfaces to generate personalized text-grids. Friends of the author who live in a triangle relationship volunteered as source of data.</p>
<p>Systemic Constellation operates with the spatial positioning of internal and external entities, in the present case, the involved persons positioning in relation to each other. The goal of systemic Constellation is the discovery of (possibly dysfunctional) system dynamics.<sup>43</sup></p>
<p><img src="assets/portfolio/equipotential-poem/equipotential-field-2.jpg">
<em>Equipotential field</em></p>
<p>Equipotential surfaces are surfaces consisting of the set of all points of constant scalar potential, for example, the perimeter of all the regions of equal field strength in a magnetic field. In contemporary architecture, they are implementated in the design of supporting structures. The text used is from the song “Triad” by David Crosby, which a participating member of the group characterized as significant for their situation.
In creating the simulation, the spatial coordinates of the participants during the systemic constellation were translated into charge carriers of a force field. The positive or negative charging of the carriers was chosen according to the internal dynamics of the relationship between the participants. The obtained field lines were two-dimensionally projected from a topview and exported to Adobe Illustrator for further editing.</p>
<p><hr /></p>
<p><small>
<strong>43</strong> Cf.: Daimler,R., Sparrer,I., v. Kibéd,M.: Das unsichtbare Netz. Erfolg im Beruf durch systemisches Wissen. Aufstellungsgeschichten. München 2003.
</small></p>
Quad tree layout generator
tag:jan.muentinga.com,2015:/thesis-13/
2015-05-01T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/quad-tree-layout-generator/quad-tree-3.jpg"></p>
<div style="float:left;margin-right:1em;">
<img src="assets/portfolio/quad-tree-layout-generator/quadtree.jpg">
<p><em>Parametric variants</em></p>
</div>
<p>This work examines the potential of generative CAD software for programming parametric generators, in this case, the creation of a layout grid generator based on a randomized quadtree subdivision. Quadtrees are tree data structures in which each internal node has either exactly four or no child elements. They are mainly used in graphics programming for the recursive subdivision of two-dimensional surfaces.<sup>44</sup> The generator presented here operates by scattering a point cloud within a pre-defined two-dimensional area – the chosen document size. These points are used to subdivide the surface iteratively until each quadrant contains only a defined number of elements. The generated quadrants are proportional to the chosen document format (ie rectangular for non-square paper sizes) thus always fitting without overlap.</p>
<div style="float:right;margin-left:1em;clear:both">
<img src="assets/portfolio/quad-tree-layout-generator/quad-tree-1.jpg">
<p><em>Quadtree of a random point cloud</em></p>
</div>
<p>
The generator can be controlled with the following parameters:
<ul>
<li>Height and width of the document format</li>
<li>The number of rows and columns</li>
<li>The quantity of points</li>
<li>The degree of randomisation of the point coordinates</li>
<li>The number of permitted points per quadrant</li>
<li>Allocation of
<ul>
<li>Text areas</li>
<li>Image areas</li>
<li>White space</li>
</ul>
</li>
<li>Quantitive ratio of
<ul>
<li>text area</li>
<li>image area</li>
<li>white space</li>
</ul>
</li>
</ul>
</p>
<p><span class="cf"></p>
<p><img src="../../assets/portfolio/quad-tree-layout-generator/quad-tree-5.jpg">
<em>parametric generated variants of grids</em></p>
<p><hr /></p>
<p><small>
<strong>44</strong> Finkel, R., Bentley, J.L.: Quad Trees: A Data Structure for Retrieval on Composite Keys. In: Acta Informatica Volume 1. Nr. 4. 1974. Page 1–9.
</small></p>
Fibonacci Grid Generator
tag:jan.muentinga.com,2015:/thesis-14/
2015-04-29T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img src="assets/portfolio/fibonacci-grid/fibonacci-grid.jpg"></p>
<p>Similar to the quad tree layout generator, this study analyses the utilization of parametric programming for the rapid preparation of grid variants. This generator dynamically creates nested Fibonacci-grids for any convex quadrilateral shape. The focus of this work though is not the Fibonacci sequence, but the parametric adaptibility of variable number series to differing document formats. In architecture, this adaptability is useful in the dynamic creation of floor plans in high-rise buildings with differing floor shapes. The generator produces arbitrary sections of the Fibonacci sequences whose values are used for dynamic generation of iso-lines on the document. In further steps, arbitrary sub-surfaces can be subdivided again according to individually adjustable Fibonacci series. The grid is also applicable to non-planar bend surfaces.</p>
Woolen Thread Fonts
tag:jan.muentinga.com,2015:/thesis-15/
2015-04-28T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><img style="margin-bottom:0;float:left;width:50%;" src="assets/portfolio/woolen-thread-fonts/e.jpg">
<img style="margin-bottom:0;float:left;width:50%;" src="assets/portfolio/woolen-thread-fonts/g.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/a.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/b.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/c.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/d.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/h.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/i.jpg">
<span class="cf"></p>
<p>In the mid-70s, Frei Otto investigated strategies for the optimization of urban road systems at the Stuttgart Institut für Leichtbau. In this experiment, he linked start and destination points with loose threads of wool. Afterwards, he soaked the wool in water and the cohesive forces of attraction between the wet strands caused clumping of various strands. The result of this self-organizing system is a compromise between a direct and a minimal path system that can be „programmed“ by varying the length of the threads. This project digitally reconstructs these tests of “material computing” and experiments with the applicability of its aesthetics aspects for font design.</p>
<p><img src="assets/portfolio/woolen-thread-fonts/otto-3.jpg">
<em>Fig. 21 Material computation, Frei Otto, 1970s</em></p>
<p><img src="assets/portfolio/woolen-thread-fonts/woolen-threads-animation.gif">
<em>clumping simulation</em></p>
<p>For the realization of the study, the letters were subdivided in different manners to examine their aesthetic aptitude. In the end, offset curves parallel to the original shape promised to lead to the best results. These curves were then subdivided into segments of controllable length. The starting coordinates of each segment were extracted and replaced with particles at the same position. For the simulation of cohesive forces, an attractive force field was iteratively calculated between all particles (analogous to a magnetic field), which acts exponentially between all neighboring points within a controllable radius. Then the newly deformed curves were reconstructed from the obtained point coordinates.</p>
<p><img style="margin-bottom:0;float:left;width:50%;" src="assets/portfolio/woolen-thread-fonts/s.jpg">
<img style="margin-bottom:0;float:left;width:50%;" src="assets/portfolio/woolen-thread-fonts/w.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/j.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/k.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/l.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/m.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/n.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/o.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/p.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/q.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/r.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/t.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/u.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/v.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/x.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/y.jpg">
<img style="margin-bottom:0;float:left;width:33.3%;" src="assets/portfolio/woolen-thread-fonts/z.jpg">
<span class="cf"></p>
<p><hr /></p>
<p><small>
<strong>45</strong> Cf.: Otto, F.: Occupying and Connecting. Thoughts on Territories and Spheres of Influence with Particular Reference to Human Settlement, Stuttgart/London 2009.
</small></p>
Explorative font design using fundamental parametric methods
tag:jan.muentinga.com,2015:/thesis-16/
2015-04-27T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>This work deals with simple algorithmic methods that provide an easy approach to the parametric operations of Grasshopper. Using a very simple font as a base, process flows were created and individual tools were examined for their aesthetic potential. All the manipulations began with the extraction of point coordinates from the base font. They were subsequently used for producing new geometry with the following methods: Examples correspond to the arrangement of the work, see Appendix 1. Examples not discussed use the same methods with different parameters and / or combinations of several methods.</p>
<p><img src="assets/portfolio/explorative-font-design/1.jpg">
<em>Example 1 The base curve is divided into sections of predetermined length. Starting at each segment’s beginning, a line is extruded along the local tangent. Each line’s endpoint is, in turn, used for the positioning of a cross and a circle.</em></p>
<p><img src="assets/portfolio/explorative-font-design/2.jpg">
<em>Example 2 Overlapping circles are placed at the division coordinates of the base font and combined via Boolean operations. The obtained curves are reduced and straightened by an adjustable amount of points.</em></p>
<p><img src="assets/portfolio/explorative-font-design/3.jpg">
<em>Example 3 Charge carriers are placed at the division coordinates of the subdivided base font. Then isopotential field lines are calculated for four different strengths of charge</em></p>
<p><img src="assets/portfolio/explorative-font-design/4.jpg">
<em>Example 7 The base font is superimposed with a radial grid of variable size. For each point of the base font, the closest point on the grid is determined, and a curve is built using the new coordinates.</em></p>
<p><img src="assets/portfolio/explorative-font-design/5.jpg">
<em>Example 13 The subdivided base font’s point coordinates are transferred to a square grid. The obtained coordinates are examined for their proximity to each other, and points are connected to two neighboring points as long they are within an adjustable minimum and maximum range.</em></p>
<p><img src="assets/portfolio/explorative-font-design/6.jpg">
<em>Example 16 The subdivided base font’s point coordinates are fed into the calculation of a Voronoi diagram. Voronoi diagrams calculate the region around each point (called seed) of a set of points that is closer to the seed than the rest of the point set. The regions are called Voronoi cells.</em></p>
<p><img src="assets/portfolio/explorative-font-design/7.jpg">
<em>Example 21 In his example, Voronoi diagrams are superposed several times. The generated geometry is stored in lists. Since curves between two points are straight lines (and thus get stored as “line-like curve”) and curves toward the empty surrounding are rounded (“arc-like curve” and “circular curve”), the curves around the outer corner of the diagram can be extracted using a lexical function (“find all records without the text string ‘line’ ”).</em></p>
<p><img src="assets/portfolio/explorative-font-design/8.jpg">
<img src="assets/portfolio/explorative-font-design/9.jpg">
<img src="assets/portfolio/explorative-font-design/10.jpg">
<img src="assets/portfolio/explorative-font-design/11.jpg">
<img src="assets/portfolio/explorative-font-design/12.jpg">
<img src="assets/portfolio/explorative-font-design/13.jpg">
<img src="assets/portfolio/explorative-font-design/14.jpg"></p>
Origami
tag:jan.muentinga.com,2015:/thesis-17/
2015-04-26T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>This 3 meter by 3 meter sized Origami deals with the design of the presentation medium for the previous works at the thesis exhibition.</p>
<p><img src="assets/portfolio/origami/origami-1.jpg">
<em>Scaled model</em></p>
<p>This large scale origami differs from the other works in that it actually creates space in an architectural sense. Gilles Deleuze postulates that the essence of an object is defined not only by its current manifestation, but also by its past and possible future mani-festations. According to Deleuze, this means that an object is a continuous agglomeration of all past and potential future shapes and conditions. This multiplicity between folded two-dimensionality on the one hand, and a source of spatiality when unfolded on the other hand, acts as a connection between the two disciplines of architecture and media design.</p>
<p><img src="assets/portfolio/origami/origami-2.jpg">
<em>The full-size origami during the exhibition</em></p>
<p>The ability to digitally calculate folding has opened up a large range of possible applications for origami techniques in the recent years. The kind of folding used here is called Miora Ori, and it belongs to the rigid origami. Among others, it is used in aerospace for the space-saving storage of solar panels of satellites. In architecture, it is used for its structural characteristics.
However, its use in architecture has much older roots. Friedrich Froebel already recognized, in dealing with kindergartners, the direct and intuitive approach that origami provides for the comprehension of geometry and stiffness of folded structures. Joseph Alber as well used similar methods to allow his Bauhaus-students to playfully discover the relationship between materiality, geometry, and structure.</p>
<p><hr /></p>
<p><small>
<strong>47</strong> Cf.: Deleuze, G.: Desert islands and other texts, 1953-1974. Cambridge 2003. Page 32.
<strong>48</strong> Cf.: Deleuze, G., Guattari, F.: A Thousand Plateaus. London / New York 2004. Page 20.
<strong>49</strong> Cf.: Deleuze, G.: Die Falte. Leibniz und der Barock. Frankfurt a. M. 2000.
<strong>50</strong> Lister D.: Die Geschichte des Papierfaltens. Eine deutsche Perspektive.In: Der Falter, Nr.35 und Nr.37, Jg. 2003 and 2004.
<strong>51</strong> Albers, J.: Concerning fundamental design. In: Bauhaus 1919-1928. Bayer H., Gropius W., Gropius I. (Hg.). Boston 1952. Pages 114-121.
</small></p>
Conclusion
tag:jan.muentinga.com,2015:/thesis-18/
2015-04-25T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>Over the course of this work, it has been shown that the transfer of the parametric design methods of contemporary architecture offers new problem solving approaches to the field of graphic design. The historical derivation shows the close links between social and economic circumstances and issues of the creative disciplines. For the treatment of current issues, the use of simulations, mathematical algorithms, scientific data, and the parametric exploration of alternative design variants opens up new ways of creative thinking beyond the limits of common graphics software. In particular, the ability to create custom tools, the strong emphasis on conception, and the expansive mixing of diverse data sources is noticeable.
Parametric software has been proven especially useful in harnessing different data sources and the easy implementation of one’s own program code. The approach of graphically linking functions or programmed entities to a set of rules may provide simpler access for novices than purely code-based, generative software such as Processing.</p>
<p>However, parametric CAD systems are less suitable for working with typography. They do not provide capabilities beyond mere text generation. Nevertheless, due to its open system an implementation of such features would be possible which could certainly be the subject of further research.</p>
Bibliography and list of figures
tag:jan.muentinga.com,2015:/thesis-19/
2015-04-24T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p>Albers, J.: Concerning fundamental design. In: Bayer H., Gropius W., Gropius I. (Hg.): Bauhaus 1919-1928. Boston 1952.</p>
<p>Amin, A.: Post-Fordism. A Reader. Oxford/Cambridge 1994.</p>
<p>Barthes, R.: Kritische Essays III. Der entgegenkommende und der stumpfe Sinn. Frankfurt a. M. 1990.</p>
<p>Barthes,R.: Der Einbruch des Sinns. In: Barthes, R.: Das Reich der Zeichen. Frankfurt a. M. 1981.</p>
<p>Boehm, W., Müller, A.: On de Casteljau’s algorithm. In: Computer Aided Geometric Design, Nr.7, Amsterdam August 1999.</p>
<p>Congrès Internationaux d’Architecture Moderne (CIAM): Erklärung von Le Sarraz.In: Conrads, U.(Hg.): Programme und Manifeste zur Architektur des 20. Jahrhunderts. Berlin/Frankfurt 1964.</p>
<p>Daimler,R., Sparrer, I., v. Kibéd, M.: Das unsichtbare Netz. Erfolg im Beruf durch systemisches Wissen. Aufstellungsgeschichten. München 2003.</p>
<p>Deleuze, G., Guattari, F.: A Thousand Plateaus. London/New York 2004.</p>
<p>Deleuze, G.: Desert islands and other texts 1953-1974. Cambridge 2003.</p>
<p>Deleuze, G.: Die Falte. Leibniz und der Barock. Frankfurt a. M. 2000.</p>
<p>Finkel, R., Bentley, J.L.: Quad Trees: A Data Structure for Retrieval on Composite Keys. In: Acta Informatica Band 1, Nr.4, 1974.</p>
<p>Ford, H.: Mein Leben und Werk. Leipzig, 1923.</p>
<p>Gabu Heindl: Arbeit Zeit Raum. Bilder und Bauten der Arbeit im Postfordismus. Wien 2008.</p>
<p>Hall, S : Brave new world. In: Marxism today. Oktober 1988.</p>
<p>Hensel, M., Menges, A.: Morpho-Ecologies: Towards a Discourse of Heterogeneous Space in Architecture. London 2006.</p>
<p>Hirsch , J., Roth, R.: Das neue Gesicht des Kapitalismus. Vom Fordismus zum Post-Fordismus. Hamburg 1986.</p>
<p>http://de.wikipedia.org/wiki/Voronoi-Diagramm.</p>
<p>http://www2.jpl.nasa.gov/srtm/</p>
<p>Jencks, C.: Die Sprache der postmodernen Architektur – Entstehung und Entwicklung einer alternativen Tradition. Stuttgart 1988.</p>
<p>Johnson, P., Wigley, M.: Dekonstruktivistische Architektur. Stuttgart 1988.</p>
<p>Jüngst, P.: Psychodynamik und Stadtgestaltung: zum Wandel präsentativer Symbolik und Territorialität von der Moderne zur Postmoderne. Stuttgart 1995.</p>
<p>Kuchenbuch, D.: Geordnete Gemeinschaft. Architekten als Sozialingenieure. Deutschland und Schweden im 20. Jahrhundert. Bielefeld 2010.</p>
<p>Lister D.: Die Geschichte des Papierfaltens. Eine deutsche Perspektive. In: Der Falter, Nr.35 und Nr.37, Jg. 2003 and 2004.</p>
<p>McLuhan, M.: The Medium is the Massage: An Inventory of Effects. New York 1967.</p>
<p>Otto, F.: Occupying and Connecting. Thoughts on Territories and Spheres of Influence with Particular Reference to Human Settlement, Stuttgart/London 2009.</p>
<p>Schumacher, P., Rogner, C.: After Ford. In: Daskalakis, G., Waldheim, C., Young, J. (Hg.): Stalking Detroit. Barcelona 2001.</p>
<p>Schumacher, P.: Parametricism: A new global style for architecture and urban design. In : Architectural Design Band 4, Nr. 79, July/August 2009.</p>
<p>Schumacher, P.: Parametricism: My Kind of Town. The Parametric Jungle. In: Architecture Today, Nr. 227, April 2012.</p>
<p>Terzidis, K.: Algorithmic Architecture. Oxford 2010.</p>
<p>Venturi, R.: Lernen von Las Vegas: Zur Ikonographie und Architektursymbolik der Geschäftsstadt. Gütersloh 2003.</p>
<p>Fig. 1: http://einestages.spiegel.de/hund-images/2008/07/16/63/41001d1791ffc1468104d0a8462c4ffa_image_document_large_featured_borderless.jpg</p>
<p>Fig. 2: http://www.fordmotorhistory.com/factories/river_rouge/images/196760pr.jpg</p>
<p>Fig. 3: http://www.themodernist.co.uk/wp-content/uploads/2012/03/01.18_Le_Corbusier_La_Ville_Radieuse_1930.jpg</p>
<p>Fig. 4: http://agingmodernism.files.wordpress.com/2010/06/radiant-city.jpg</p>
<p>Fig. 5: http://www.aroots.org/notebook/local/cache-vignettes/L230xH381/doc-148-b44a5.jpg</p>
<p>Fig. 6: http://www.canada.com/5138707.bin?size=620x400s</p>
<p>Fig. 7: http://www.tu-cottbus.de/theoriederarchitektur/wolke/deu/Themen/051/Delitz/abb2.jpg</p>
<p>Fig. 8: http://newsfeed.kosmograd.com/images/uu/uu_02.jpg</p>
<p>Fig. 9: http://upload.wikimedia.org/wikipedia/commons/c/cf/Image-Disney_Concert_Hall_by_Carol_Highsmith_edit-2.jpg</p>
<p>Fig. 10: Star Trek VI,1991. Screenshot.</p>
<p>Fig. 11: http://noobody.org/Data/Metaballs3D.png</p>
<p>Fig. 12: http://cache2.allpostersimages.com/p/LRG/49/4938/145HG00Z/poster/selfridges-department-store-birmingham-dusk-architects-future-systems.jpg</p>
<p>Fig. 15: http://www.alivingarchitecture.com/2011/08/photoskin-wall-fully-assembled/</p>
<p>Fig. 16: www.zaha-hadid.com</p>
<p>Fig. 17: http://www.rundreise-usa.net/wp-content/uploads/2010/11/New-York-Skyline1.jpg</p>
<p>Fig. 18: http://www.ryanphotographic.com/images</p>
<p>Fig. 19: http://www.ryanphotographic.com/images</p>
<p>Fig. 20: http://www.patrikschumacher.com/Images/Digital%20Cities/wool-thread-model_sm.jpg</p>
<p>Fig. 21: http://www.patrikschumacher.com/Images/Digital%20Cities/distancing-attracting-occupation_sm.jpg</p>
<p>Fig. 22: http://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes/tvm_f-lauginie_024_1280/</p>
<p>Fig. 23: http://matsysdesign.com/wp-content/uploads/2012/04/IMG_7240.jpg</p>
<p>Fig. 24: http://matsysdesign.com/wp-content/uploads/2009/06/image_15.jpg</p>
<p>Fig. 29: http://24.media.tumblr.com/tumblr_lkywawBE811qe0nlvo1_500.jpg</p>
<p>Fig. 36: http://24.media.tumblr.com/tumblr_m79sbeDIKE1qztueno1_500.jpg</p>
<p>Fig. 37: http://24.media.tumblr.com/tumblr_lo8mgsQZgj1qe0nlvo1_500.jpg</p>
<p>Fig. 42: http://api.ning.com/files/SmDU4YfghY763EWg0u9HxbXPWWui2g73zKyajz3zITZayVE6Bnav-0AYuNhb53nm2nsthJqojxdPlVWfNVVLaXwYTw0TRKcI/lamparaproceso12.jpg?width=550&height=600</p>
<p>Fig. 43: http://www.flickr.com/photos/kuk/5723608588/sizes/l/</p>
<p>Fig. 58: http://www.eikongraphia.com/wordpress/wp-content/FOA.jpg</p>
Welcome to Almace Scaffolding
tag:jan.muentinga.com,2014:/almace-scaffolding/
2014-06-13T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<p><code>amsf</code>, a.k.a. <strong>Almace Scaffolding</strong>, a super-fast Jekyll framework, supports live reloading (BrowserSync), LESS, HTML minification, inlined stylesheets and more. Available for <a href="http://jekyllrb.com/">Jekyll</a> right now (will be available for more platforms in the future).</p>
<p class=largetype>
<a href="http://sparanoid.com/lab/amsf/getting-started.html">Getting Started</a>
</p>
<p>Go to the <a href="https://github.com/sparanoid/almace-scaffolding">GitHub</a> page for downloads, bug reports, and feature requests.</p>
<h2 id="features">Features</h2>
<ul>
<li>A basic, fully configured Jekyll setup with well-defined <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/feed-atom.xml">Atom feed</a>, <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/sitemap.xml">sitemap</a>, and <a href="https://dev.twitter.com/docs/cards">Twitter Cards</a> support</li>
<li><strong>Almace Scaffolding</strong> ships a sleek responsive theme, a variant of <a href="http://sparanoid.com/">sparanoid.com</a>, looking great on any mordern browsers</li>
<li>Every minified page generates only one HTTP request <sup id="fnref1"><a href="#fn1" rel="footnote">1</a></sup></li>
<li>Minimalism design, No jQuery, no <code>everybody-shake-ur-body.js</code></li>
<li>Ideal for personal blog, portfolio, product blog and Tumblr-like link blog</li>
<li>(Maybe) <a href="https://github.com/sparanoid/sparanoid.com/commit/9b44b4c0f57c3dd1e828d828a95cc21b992785ce">the first</a> template that uses <a href="http://www.w3.org/TR/css3-values/#viewport-relative-lengths">viewport relative units</a></li>
<li><a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_config.init.yml">Tons of configurable settings</a> for your posts and site customization</li>
<li><a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/assets/_less/app.less">Handcrafted stylesheets</a>. No Bootstrap or other bloated frameworks are used, unminified CSS < 12 KB</li>
<li>Predefined LESS variables make it easier to change color schemes for different posts</li>
<li><a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/assets/_less/syntax.less">Default stylesheets</a> for Pygments code highlighting</li>
<li>Redcarpet as Markdown renderer, tables, footnotes, GFM, smart quotes are supported</li>
<li>Built with Grunt.js for easy development</li>
<li>No Internet Explorer support</li>
</ul>
<div class="footnotes">
<hr>
<ol>
<li id="fn1">
<p>Only when your posts don’t have fancy sliders or other external media files. <a href="#fnref1" rev="footnote">↩</a></p>
</li>
</ol>
</div>
Getting Started
tag:jan.muentinga.com,2014:/getting-started/
2014-06-12T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="quick-start">Quick Start</h2>
<ol>
<li><a href="https://github.com/sparanoid/almace-scaffolding/fork">Fork</a> or clone the repo.</li>
<li>Install dependencies with Ruby gem <a href="http://bundler.io/"><code>bundler</code></a> and Node.js package manager <a href="https://www.npmjs.org/"><code>npm</code></a>.</li>
<li>Copy <code>_config.init.yml</code> to <code>_config.yml</code> as your default configuration file.</li>
<li>Run <code>grunt serve</code>.</li>
</ol>
<p>So in short for geeks:</p>
<div class="highlight"><pre><code class="language-sh" data-lang="sh"><span class="nv">$ </span>git clone git@github.com:sparanoid/almace-scaffolding.git
<span class="nv">$ </span>bundle install <span class="o">&&</span> npm install
<span class="nv">$ </span>cp _config.init.yml _config.yml
<span class="nv">$ </span>grunt serve
</code></pre></div>
<h2 id="download">Download</h2>
<p>Go to the <a href="https://github.com/sparanoid/almace-scaffolding">GitHub repository</a> for downloads, bug reports, and feature requests.</p>
<h2 id="upgrading">Upgrading</h2>
<p>Upgrading templates is hard, it will be easy if you are’re a casual blogger and keep every template file untouched. Just copy and paste all template files in <code>_assets</code>, <code>_includes</code>, and <code>_layouts</code>. If you change the templates directly, you have to compare them side by side.</p>
<h2 id="customizing">Customizing</h2>
<ul>
<li>All custom settings can be configured at <code>_config.yml</code> (a copy of <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_config.init.yml"><code>_config.init.yml</code></a> you just duplicated since your first setup), it’s well commented so you should really check it out.</li>
<li>Additional variables are stored in <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/_data"><code>./_app/_data/</code></a> directory. They can be accessed by Jekyll. (<a href="http://jekyllrb.com/docs/datafiles/">More info</a>)</li>
<li>Customize your site’s look and fell by changing <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/assets/_less/custom.less"><code>./_app/assets/_less/custom.less</code></a>.</li>
<li>Use your custom JavaScript snippets (Google Analytics, Typekit, etc.) in <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/_app/_includes/js.html"><code>./_app/_includes/js.html</code></a>.</li>
<li>You should also change <code>favicon.ico</code> and <code>apple-touch-icon.png</code> to yours.</li>
<li>You can add Travis support for this project, simplly rename <a href="https://github.com/sparanoid/almace-scaffolding/blob/master/.travis.init.yml"><code>.travis.init.yml</code></a> to <code>.travis.yml</code>.</li>
<li>Some tasks in <code>Gruntfile.coffee</code> are not used in this project, they’re copied from my own <a href="https://github.com/sparanoid/sparanoid.com">website</a>, I’ll keep them untouched in case you need these.</li>
</ul>
<h2 id="managing-media">Managing Media</h2>
<p>Media files are located in <code>/_app/assets/</code> and grouped by different formats:</p>
<ul>
<li><code>_js/</code>: JavaScript files, put all needed sctipts in this directoy will just work fine. All files in this directory will be automatically uglified and copied into <code>js/</code>. I don’t expect to have many scripts so no complex “vender”, “lib”, or other fancy structures used for this project.</li>
<li><code>_less/</code>: LESS stylesheets, the leading underscore makes sure this directory is excluded from Jekyll generated site.</li>
<li><code>css/</code>: CSS and its sourcemap files generated from LESS, it’s gitignored.</li>
<li><code>font/</code>: Web fonts</li>
<li><code>img/</code>: Image assets, images used by template, personally I don’t recommend put post images here, use a CDN instead.</li>
<li><code>svg/</code>: The same as <code>img/</code>.</li>
</ul>
<h2 id="advanced-usages">Advanced Usages</h2>
<ul>
<li><a href="http://sparanoid.com/lab/amsf/markup-example.html">Markup Example</a></li>
<li><a href="http://sparanoid.com/lab/amsf/custom-html-markups.html">Custom HTML Markups</a></li>
<li><a href="http://sparanoid.com/lab/amsf/custom-color-scheme.html">Custom Color Scheme</a></li>
<li><a href="http://sparanoid.com/lab/amsf/custom-css.html">Unique Post Styling via Custom CSS</a></li>
<li><a href="http://sparanoid.com/lab/amsf/svg-post-title.html">SVG Post Ttile</a></li>
<li><a href="http://sparanoid.com/lab/amsf/external-link-post.html">External Link Post</a></li>
<li><a href="http://sparanoid.com/lab/amsf/github-pages-setup.html">GitHub Pages Setup Guide</a></li>
</ul>
<h2 id="tips">Tips</h2>
<ul>
<li>Not familer with <a href="http://daringfireball.net/projects/markdown/">Markdown</a>? Try <a href="https://github.com/adam-p/markdown-here/wiki/Markdown-Cheatsheet">Markdown Cheatsheet</a>.</li>
<li>You can use Jekyll’s <a href="http://jekyllrb.com/docs/templates/#code-snippet-highlighting">built-in syntax highlighting</a>, I’ve included a default theme for this project.</li>
<li><a href="https://help.github.com/articles/github-flavored-markdown#tables">Tables</a> and <a href="https://github.com/vmg/redcarpet#and-its-like-really-simple-to-use">footnotes</a> are also avaiables to use.</li>
</ul>
<h2 id="other-notes">Other Notes</h2>
<ul>
<li><code>_config.yml</code> is git ignored from <code>.git/info/exclude</code> file</li>
</ul>
GitHub Pages Setup Guide
tag:jan.muentinga.com,2014:/github-pages-setup/
2014-01-01T00:00:00+08:00
Jan Müntinga
http://jan.muentinga.com/
jan.muentinga@gmail.com
<h2 id="the-problem">The Problem</h2>
<p>Unfortunately this project doesn’t work with GitHub Pages or GitHub Pages for projects. There’re some factors that prevent it from generating pages:</p>
<ul>
<li>Many features Almace Scaffolding provides like live reloading, LESS support, inline SVG, and HTML minification are implemented using <a href="http://gruntjs.com/">Grunt.js</a>, it’s not supported by GitHub Pages.</li>
<li>Almace Scaffolding uses the latest pre-release Jekyll, so not all features are supported by GitHub Pages renderers.</li>
<li>GItHub Pages build server <a href="https://help.github.com/articles/pages-don-t-build-unable-to-run-jekyll#source-setting">overwrites the <code>source</code> settings</a>. This prevent it generating pages from current file structure.</li>
</ul>
<h2 id="the-solution">The Solution</h2>
<p>I know this can be tricky and more verbose than uploading your Jekyll site directly to your repository. However GitHub Pages support static HTML pages, a workaround solution for using Almace Scaffolding on GitHub Pages is treating your Jekyll site as static pages:</p>
<ul>
<li>Build your site locally (<code>grunt build</code>).</li>
<li>Upload Jekyll generateed static files to your <code>username.github.io</code> repository.</li>
</ul>
<p>If you’d like to keep all things under Git control, you can try the following file structure:</p>
<div class="highlight"><pre><code class="language-text" data-lang="text">├── _amsf/ (Almace Scaffolding source code)
├── *.html (Jekyll-generated static pages)
└── README.md (your own readme)
</code></pre></div>
<p>You can see this <a href="http://github.com/amsf/amsf.github.io/">live demo</a> how to make them friends.</p>