reVersed Normals
Duncan Brown
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Installations
‘A normal is the vector perpendicular to the surface of a
given point.’
When a modeling program is rendering the surface of an
object, its exterior form, the ‘normals’ are drawn point-
ing out. Reversing the normals renders the space within.
reVersed Normals
reVersed Normal #1
Quake III Arena viewsMassing model
Exploding animationDiagrammatic evolution
Elevation fold-outRendered strip
reVersed Normal #1
Quake III Arena viewsStereolithography model
Rendered stripWireframe isometric
Background – perspective
reVersed Normal #2
SectionDiagrammatic evolutionSited InteriorRendered Slice – Simulated StereolithographyRendered strip
reVersed Normal #2
VRML SnapshotRendered Slices – Simulated StereolithographyTraced EdgesInterior viewBackground – perspective
reVersed Normal #3
Sectioned foamcore modelMinor volumes modified by wave form
WireframeStacked model slices framed
Background perspective
reVersed Normal #3
Minor volumes modified by wave formModel slice perspective
Rendered stripBackground - perspective
reVersed Normal #3
Stereolithography modelGeneration Diagrams
Perspective views with alternate materialsBackground – perspective
reVersed Normal #3
Quake III Arena viewsPerspective views with alternate materials
Background – perspective
reVersed Normal #4
Diagrammatic evolutionStereolithography modelBackground – perspective
reVersed Normal #4
Rendered stripInstallation viewsBackground – perspective
reVersed Normal #5
Diagrammatic evolutionRendered stripBackground - perspective
reVersed Normal #5
reVersed Normal #5
reVersed Normal #5
reVersed Normal #5
reVersed Normal #6
Diagrammatic evolutionStereolithography modelBackground – perspective
reVersed Normal #6
Rendered stripInstallation sequence and views
WireframeBackground – perspective
Quake III Arena views
reVersed Normal #6
Quake III Arena views
reVersed Normal #6
reVersed Normal #7
Diagrammatic evolutionCombinationsInstallationWireframeTraced edgesBackground – perspective
reVersed Normal #7
Traced edgesBackground perspective
reVersed Normal #8
Stereolithography modelDiagrammatic evolutionCombinationsBackground – perspective
reVersed Normal #8
Rendered stripInterval generationVRML snapshotBackground – perspective
reVersed Normal #9
Wireframe generationRendered stripPartial modelsVRML SnapshotBackground – perspective
reVersed Normal #9
Wireframe perspectivesRendered views
Background – perspective
reVersed Normal #10
Rendered stripDiagrammatic evolution
Sectional slicesBackground – perspective
reVersed Normal #10
Series A-D Interior ViewsBackground – perspective
reVersed Normal #10
Series E-H Interior ViewsBackground – perspective
reVersed Normal #10
Series I-L Interior ViewsBackground – perspective
reVersed Normal #11
Diagrammatic evolutionWireframe isometricStereolithography modelRendered stripBackground – perspective
reVersed Normal #11
Stereolithography modelRendered viewsStructural modelBackground – perspective
reVersed Normal #12
Rendered stripElevationsShaded IsometricWireframe isometricBackground – perspective
reVersed Normal #12
Animated viewFound edges
VRML SnapshotElevation foldout
Background – perspective
reVersed Normal #13
Installation viewsWireframe isometric
Background – perspective
reVersed Normal #13Interior viewsBackground – perspective
reVersed Normal #14 - Broken 2
Diagrammatic evolutionStereolithography model
Background – perspective
reVersed Normal #14 - Broken 2
Transparency studiesInterior view
Background – perspective
reVersed Normal #15
SectionPerspective viewRendered stripWireframe isometricBackground – perspective
reVersed Normal #15
VRML SnapshotFound edgesInstallationBackground – rendered views
reVersed Normal #16
Rendered stripDiagrammatic evolution
Stereolithography modelBackground – perspective
reVersed Normal #16
Found edgesBackground – perspective
reVersed Normal #16
Interior viewsBackground – perspective
reVersed Normal #16
Installation rendered viewsInstallation modelsBackground – perspective
Based on conceptual abstractions of the reVersed Normal models, a se-ries of installations were virtually realized in digital game space. Situated in white box gallery rooms, the different constructions give an indication of how the spaces of the original rVN models would be enriched through material and detail development.
1. Taking a flattened elevation as the starting point, each color within the elevations is scaled down to 10 per cent of its original size lo-cated at the center of each figure. Each new elevation is projected on to the four walls of the room. A cutout made from color magazine paper of representative color is created and this is taped to the wall at the mapped locations.
2. A 2’-6” sectional slice of the model is built to rest on the floor. The slice is fabricated from modular sections of cardboard boxes folded to be self-supporting.
3. The plan view is outlined in colored sand on the floor with the projecting wave forms depicted in a contrasting color.
4. Light bamboo sections are lashed together with twine to form the hoop outlines, and are then suspended from the ceiling.
5. Fragments of the section profile are fabricated from plywood and the projecting framework is created from timber 2x2s.
6. After establishing their stability with paper mockups, the selected frames are constructed from sheets of plywood.
7. The sliced volumes are carved from pieces of colored soap and placed on small display tables in each of the four corners of the room.
8. Based on UV outlines from Maya, each of the model compo-nents are fabricated from sail cloth and suspended on fishing line from the wall and ceiling surfaces of the room.
9. Key volumes are outlined in string. 10. Rendered images are projected across the room onto walls and the skeletal framework. & 11. Jointed 2x2s are bolted together to form a skeletal framework outlining the form. 12. Similar to number one, but with timber 2x2s attached to the wall representing the section profiles. & 13. Color newsprint stiff-ened with lacquer is cut and folded into boxes modeled on the projected forms. These are arranged on the floor and range in height from 2’-6” to 4’-8.”
14. The animated sequence is projected onto the surrounding walls and models. & 15. Color newsprint stiffened with lacquer is cut and folded into boxes modeled on the projected forms.
16. Subsequent to stability mockups, the stiffest screens are con-structed from sheets of 4x8 plywood.
Unreal Installations
Background - #5.Top to bottom - #1, #2 & #4.
Background - #10 & #11Top to bottom -
#6, #8, & #10 & #11Opposite -
#12 & #13, #14 & #15, #16
The first sixteen models in the series were created using boolean-union to connect independent volumes to each other. The progression develops further with an exploration of permutations of boolean operation – for example, union combined with subtraction. The individual volume’s original state and the three boolean operations (union, intersection and subtraction), represent a post-facto complement to Le Corbusier’s Four Compositions.
Seventeen serves as a written example of this continuation.
The component parts of #11 are scaled to 60% and duplicated.
The original component parts are then booleaned together
The duplicated pieces are scaled to 40% and inverted.
The duplicated pieces are copied once more and hidden.
Each of the duplicated pieces are then subtracted from the original, leaving a series of perforations. The hidden pieces are then displayed again closing these openings.
The combined parts are then booleaned together to create the complete enclosure.
Next Order - reVersed Normal Seventeen