scholarly journals Kinesthetic Imagination in Architecture: Design and Representation of Space

2020 ◽  
pp. 22-35
Author(s):  
Katarina Andjelkovic

Histories of architecture have long-recognized the vital role of concepts, strategies and principles exchanged between architecture and film, which reconfigured their systems of knowledge and made this relationship rich. Nonetheless, film has been used mainly as an instrument of narration and representation in architecture, only rarely engaged in questioning how it affects the way we understand, think and design space. Some of the most recent architectural design practices have recognized that film, using its specific screen environment, can provide a source of new architectural imagination while contextualizing our kinesthetic experience of space. In this article, I will examine how kinesthetic imagination has informed architectural practice in relation to the established practices of architectural representation.

Author(s):  
Charles Spence

Abstract Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously.


2020 ◽  
Vol 1 (1) ◽  
pp. 29-36
Author(s):  
Dewa Ayu Ketut Septika

Architecture is inseparable from visual aspects in the form of representation as a way to establish communication. Due to digitalization and the rapid development of technology, there has been a shift in the paradigm of image representation. Manual images become digital images, from sketching and drawing to image-making and rendering. Digital rendering is considered to be object-oriented and quantitative. It has the characteristics of being precise, fast, reflecting form and materiality, with a photorealistic image as a result. There is no visible involvement of subjects such as architects, image-maker, and observers in the process because the image represents the final outcome. Here, the role of representation to evoke imagination and deeper interpretation is lost, because it does not leave room for intervention and contemplation of the design. That is why another kind of digital method emerged in the world of representation, instead of “rendering” the design as an image, it is relevant to the act of “making” an image as design representation. Its characteristic as a representation method makes the produced images have the ability to be evocative, in order to make its viewers contemplate and interpret the design, which makes it a qualitative representation. The aim of this paper is to understand the act of image-making through digital collage as a medium for qualitative representation in architectural design. By comparing digital rendering and collage images obtained through literature studies, this paper wants to offer the author’s viewpoint on the qualities and experiences brought by architectural representation.


2014 ◽  
Vol 584-586 ◽  
pp. 164-167
Author(s):  
Ying Shi ◽  
Zhen Hua Zhuo

The resort area located near the pastoral scenery district and lay more emphasis on the internal space of comfort and landscape than the urban hotel.The spatial patterns of courtyard as the center of the village,the courtyard space in the resort can create shared space in the resort ,which is different from the urban hotel.By analyzing the patterns of the courtyard space of traditional dwellings in the resort, combining with the courtyard layout of Wu Yi Mountain Villa Hotel and the banyan tree Li jiang , we discuss the important role of the courtyard space in architectural design of the resort.


Author(s):  
Beniamino Polimeni

In last decades computer graphics design systems emerged as key players in architectural design, on the one hand leading to a combination of parametric, process-driven architecture and applied geometry, and on the other hand, to a new role of architects as makers, and craft-people, able to bring together architecture as an interplay between art and craftsmanship. This unique dual perspective about architectural practice and education inspires this paper, which tries to analyze how a set of basic volumetric transformations can generate complex spatial outcomes. Using platonic solids as base volumes, we will explore different ideas, applying generalized extrusions, remesh schemes of subdivision and multiplication of the object's faces, and a set of tools to create high-genus meshes. Starting from these new objects, a set of solid wireframe structures will be created as well. The goal of this process is to create a basic guideline to explore the spatial design language: a set of illustrated steps to activate architectural inquiry and to generate innovative design solutions.


Author(s):  
Franky Liauw

Elements of architectural works in the form of buildings are usually described according to their respective roles. The dictionary is often a reference to understanding the meaning of each word, but it needs to be aware because the dictionary only gives a basic understanding, and often also becomes a barrier of thought that sometimes hinders further development. For example, in the dictionary the roof is defined as the top of the building cover, even though it has long been used as a roof garden. In the midst of many problems in the environment, such as the energy crisis, lack of non-renewable resources, global warming, various types of pollution, etc., empowering building elements for other functions outside their basic role, will provide added value, save costs and space, and various other benefits. This paper uses descriptive qualitative methods, in the form of a comparison of definitions in the dictionary with developments in architectural practice, as well as an analysis of the various possibilities and opportunities for the development of the role of each building element. The benefits of empowering building elements like this can be said to be environmentally friendly designs because they are in accordance with the principles of sustainable development. For example, the roof provides protection for the contents of buildings against uncomfortable external influences, but exposure to the sun with excessive heat can be converted to energy. The roof of the building can also accommodate human activities. Sports activities that release a lot of energy, can actually be converted into electrical energy through the empowerment of various building elements. Efforts to add as many other functions as possible to each building element in the architectural design process might be best taught from the beginning in architecture education courses so that it will become a habit inherent in every designer. Definitions in a dictionary need to be viewed more critically, not directly made as a rigid reference. AbstrakElemen karya arsitektur berupa bangunan biasanya diuraikan menurut peran masing-masing. Kamus sering menjadi acuan untuk memahami pengertian setiap kata, namun perlu diwaspadai karena kamus hanya memberi pengertian dasar, dan sering juga menjadi pembatas pemikiran yang kadang menghambat pengembangan lebih jauh. Sebagai contoh, dalam kamus atap didefinisikan sebagai penutup bangunan bagian atas, padahal sudah sejak lama atap digunakan juga sebagai roof garden. Di tengah banyaknya masalah dalam lingkungan, seperti krisis energi, kekurangan sumber daya tak terbarukan, pemanasan global, berbagai jenis polusi, dan lainnya, pemberdayaan elemen-elemen bangunan untuk fungsi-fungsi lain di luar peran dasarnya, akan memberi nilai tambah, menghemat biaya dan luasan ruang, dan berbagai manfaat lainnya. Tulisan ini menggunakan metode kualitatif deskriptif, berupa perbandingan definisi dalam kamus dengan perkembangan dalam praktek arsitektur, serta analisis berbagai kemungkinan dan peluang pengembangan peran setiap eleman bangunan. Manfaat pemberdayaan elemen bangunan seperti ini dapat dikatakan sebagai rancangan yang ramah lingkungan karena sesuai dengan prinsip pengembangan berkelanjutan. Sebagai contoh, atap memberi perlindungan bagi isi bangunan terhadap pengaruh luar yang tidak nyaman, namun paparan matahari dengan panas yang berlebihan dapat dikonversi menjadi energi. Atap bangunan juga dapat menampung kegiatan manusia. Kegiatan berolahraga yagn banyak mengeluarkan energi, sebenarnya dapat dikonversikan menjadi energi listrik melalui pemberdayaan berbagai elemen bangunan. Upaya menambahkan sebanyak mungkin fungsi lain pada setiap elemen bangunan dalam proses perancangan arsitektur mungkin sebaiknya diajarkan sejak awal di perkuliahan pendidikan arsitektur sehingga akan menjadi kebiasaan yang melekat pada setiap perancang. Definisi dalam kamus perlu dilihat dengan lebih kritis, tidak langsung dijadikan sebagai acuan yang kaku. 


2008 ◽  
Vol 5 (2) ◽  
Author(s):  
Francois Tran ◽  
Özlem Lamonte-Berk

The intention of this research is to inspire a discussion about the changes in architecture terminologywith the revolution in communication and representation forms as a result of digitalisation.The blurred boundary between the virtual and the analogue worlds, the misunderstandings andthe confusion that appear with the interaction of these two worlds nowadays form the major problems facing architectural design, education and research. The researchers in this field arefocused on the interface, the meeting and the transformation point between the digital and analogue worlds in order to prevent those problems and confusions. One of the main reasonsof this ambiguity is the architectural terminology that changes according to the changing status of architectural representation i.e. new forms of representation; new forms of communicationi.e. the new role of the architect and the researcher.Whenever and wherever information and knowledge specialised is created, communicated ortransformed terminology is involved in a way or another. An absence of terminology is combined with an absence of an understanding of concepts. Therefore with the new information and communication technologies; new and developing subject areas the existence of terminology and its update is indispensable. Thus the changing status of the terminology must be analysed. As architecture terminology is essential to improve today’s challenging, multidisciplinary communication in order to clarify the problems of ambiguity and unawareness (as a result of shift of specific architectural vocabulary) it is necessary to analyse the changes in the architectural terminology which will form the discussion point of the following paper.As this paper is the beginning step of a research project which started on the occasion of the conference proposed by EAAE/ARCC we will here present only the objectives of this research,its general problematics, the methods that we wish to develop and some provisional results likethe illustration of this approach to be followed.


2013 ◽  
Vol 5 (2) ◽  
pp. 170-193
Author(s):  
Johan Bettum

This essay addresses the opportunities and limits of architectural design at the juncture of technology and disciplinary specific developments in architecture. The theoretical model that it develops encapsulates the essences of what it means to work with respectively digital and analogue modeling systems. It poses a release from the continuous crisis of architectural education in coping with the onslaught of the digital. Moreover, it addresses the uncritical obsession that architectural academia has with this technology without relapsing into the various forms of reactionary practices that are currently emerging in the profession as well as the schools. The discussion focuses on systems and regimes of representation within architectural design and production and problematizes the role of digital and computational design procedures with respect to analogue systems of representation, architecture's infinite construction of our physical environment and the inherent limitations of digital systems given their 'rational' character. The essay attempts to address the influence and status of the digital by focusing on an inclusive notion of space. This is both architectural space but also the productive design space in which architects work. In unfolding the argument, three artworks have been discussed and the initial premise for the argument is based on art theory.


2021 ◽  
Author(s):  
◽  
Serdar Aydin

<p>Digital tools have become critical instruments in preserving and communicating the value of heritage as important cultural expressions of the past. A consequence of digitalisation is the democratisation of heritage institutions, such as museums, which are found to value increasingly new types of content and new profiles of audiences. Digitisation plays a vital role in the alteration of the convictions of the heritage field to ‘materiality’ and ‘actuality.’ Although researchers acknowledge the significance of digital heritage in leading us into new ways of expressing ‘authenticity’ and ‘virtuality,’ studies have been confined to heritage activities comprised of digital documentation, representation and dissemination. Previous studies have reported on the role of public engagement in digital heritage which is criticised as consumptive, passive, guided and descriptive. Instead, the motivation of this research is to explore a new role that is ‘generative,’ ‘active’ and ‘creative’ for the production of heritage knowledge.  This dissertation demonstrates an innovative digital design approach to creative and participatory content-making in digital heritage. The research investigated the use of creative content generated collaboratively for knowledge production and acquisition in architectural heritage and tested in Kashgar, the westernmost city in China. The research conceives an interdisciplinary methodology, integrating design with the standard activities involved in digital heritage.   This dissertation is undertaken using different digital media equipment for collaboratively expressing authenticity and virtuality of heritage information. The research examines the role of creative engagement for constructing digital heritage. Creative engagement in a hybrid immersive virtual reality environment is experimented with and findings are analysed qualitatively. Then, to measure the outcome of creative engagement quantitatively, a well-known technique in data mining is used to expose undisclosed patterns. It is the first time in digital heritage that a study employs association rule mining to interpret user-generated content. The qualitative findings of two initial experiments are synthesised with quantitative results of the third experiment to investigate how the creative contribution of people in content-making is generalizable.   The investigations foster the advancement of research and practice in digital heritage beyond the frontiers of current knowledge. There is a number of fields that can apply the results of this research, including cultural heritage, computer-aided architectural design, museology, new media, TV, education, MOOC, streaming, as well as culture and game studies.</p>


Author(s):  
V. Eh. Liavdansky ◽  

Modern architectural management offers several fundamentally different methods of implementing construction projects, and, depending on the method used, the role of the architect in the work is different. Each of these methods changes not only the scope and nature of the services provided by the architect, but also the very possibility of implementing the creative idea of the architect and his professional potential. A brief analysis of the main methods of implementing construction projects is carried out, and the optimal method for the full disclosure and implementation of the architectural design is determined.


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