邁向湧現美學的基本設計教學研究

建築學報 ◽  
2021 ◽  
Vol 116 (116-1) ◽  
pp. 041-054
Author(s):  
柯純融 柯純融

<p>本研究主要在探討建築設計在數位工具與生物學觀點介入後,如何將形態生成語彙的,以自然的湧現特質呈現在設計中。設計的操作方法透過材料特性的探索、量體聚集和力學傳遞的差異與連續,企圖創造出不同於以往只有幾何的組織特性而能傳達自組織美學的意。此看法包含Las Spuybroek所說解釋的新激進唯物主義概念,可以體現從構築、跨越物質感知與物質本身產生共鳴的設計方法。目前在數位設計型態上十分常見。但是,如何避免只是複製形式而不了解邏輯的生成原則,將材料探索和其生成意義傳遞給學生,需要一套較完整的設計教學方法。本研究歷經三年的嘗試,已接近明確的方法論,其目的就是希望讓學生從近身事物之觀察為起點,分門別類理解各種材料與對應工具的技術,最後運用於生成形式獨特的空間內涵。即便學生沒有直接接觸或使用計算機工具或任何種類的演算和結構運算軟體。學生也能自然地體驗形式由下而上的生成方法,以及來自構築性物件中結構力量的流動與傳遞經驗。他們可以看到組織的流動性如何轉移到物體結構中。</p> <p>&nbsp;</p><p>The research primarily explores how, after the introduction of digital tools and biological viewpoints, architectural design may express the morphological generation language within as a natural emergence. Through the exploration of material properties, mass aggregation and the force distribution and continuity, the design method attempts to create an assemblage characteristic containing more than simply geometry as in the past, and the ability to communicate the aesthetic value of self-assemblage. This aspect was also explained by Las Spuybroek, on new radical materialist concept that embodies a design approach resonating with the tectonics, cross-material perception and the material itself. At the moment, this approach is prevalent in digital design. Nonetheless, for the purpose of conveying this tectonic significance to students by the material exploration, and avoiding a simple replication of form and uninformed of the principles that generate such logic, a more thorough method in design teaching is required. After three years of experimentation, the research has nearly arrived at a clear methodology, which aims to allow students to take the observation of the surrounding objects as the outset, categorizing and understanding the materials and set of techniques of respective tools, and finally realized by generating unique forms of spatial connotation. Even if the students have yet been in direct contact or use of the computational tools or any types of algorithms and structural calculations, they can naturally experience the bottom-up approach of the form generation and the flow of structural force from the tectonic, thus pass on the experience. They will observe how the organizational mobility is transferred to the structure.</p> <p>&nbsp;</p>

2013 ◽  
Vol 392 ◽  
pp. 909-912
Author(s):  
Zhou Lin

Digital technology has played a crucial role in architectural development since being introduced in. Different application of digital design software has taken the place of traditional drawing. The innovated architecture design process has promoted a trend of space complexity. Advanced digital technology also produced a new design method; the computer can generate a unique building plan through the special program directly rather than the imagination of the human brain. Besides, digital technology has a wide range of applications in exploring the future architecture development, as well as virtual reality in the scheme deliberation and demonstration. The digital architecture has broken through the two-dimensional architectural design pattern and the aesthetic consciousness of the industrial era, and pushes the building industry development greatly.


Author(s):  
Zhi Li ◽  

The concept of Space megastructures is originated from science fiction novels. They symbolize the material landscape form of a comprehensive advancement of intelligent civilization after the continuous development of technology. Space megacity is actually an expansion process of human development in the future. It is not only a transformation of space colonization but also a mapping of self-help homeland. Therefore, it is a symbol of technological optimism and a future utopia in the context of technology. In contemporary times, sci-fi movies use digital technology to translate the giant imagination in literature into richer digital image landscapes. Space giant cities are one of the most typical digital images with spectacle view, which reflects the impact of American sci-fi movie scene design on the landscape and preference that human will be living in the future. The aesthetic preferences and design principles of the future picture, and the aesthetic value of science fiction as a medium of imagination are revealed. The aim of this article is to explore the digital design style of space megastructure with utopia sense in science fiction movies, and analyzes its aesthetic connotation.


2019 ◽  
Vol 27 (2) ◽  
pp. 34-47
Author(s):  
Quratulain Asghar ◽  
Syed Muhammad Zille Ali Naqvi

In the emerging era of technology, the architectural world is taking inspiration from nature for solutions to its problems, which involve the study of natural design systems and various processes. This research investigation, carried out in the fourth year architecture design studio, aims to investigate bio-mimicry as a development process, involving it for architectural design. It also attempts to study innovation by integrating the digital tools like Rhino, Grasshopper, Ladybug and Para Cloud Gem. A new understanding of solving design issues with the help of natural processes and phenomena is the basic aim. Natural systems offer design strategies to improve design thinking due to the availability of extensive repertoire; which makes incorporating multi-functional and self-organized biomimetic principles into the design process a requirement. This discusses an undergraduate design studio titled "Digital Design through Bio-mimicry" which was taught by the author in an architectural degree program at the University of Engineering and Technology Lahore, Department of Architecture in Spring 2018. Following the exploration of individual research topics, the findings were implemented into design solutions. It has been a critical challenge for the author to increase the skill of students about biomimetic thinking, making them learn about how to handle digital tool’s performance issues, as well as making them work on the development of interesting form generation. The challenges encountered in the teaching process and future lines of the work are discussed in this paper. Keywords: Biomimetic processes, Architectural education, Digital Techniques, Vertical Landscape, Computer-Aided Architectural Design


2018 ◽  
Vol 41 ◽  
pp. 04009
Author(s):  
Anak Agung Ayu Suci Warakanyaka ◽  
Yandi Andri Yatmo

The presence of time holds an important position in interior architectural practice and education. On theother hand, the presence of time challenges the stability and steadiness that framed the discipline. Furthermore, in interior architectural practice it is usually seen as a threat that should be either eliminatedor restricted. Rather than establishing defense mechanism against it, this paper argues that interiorarchitectural practice should be able to progress with time. By looking through undergraduate designstudio projects in Interior Architecture Program, Department of Architecture, Universitas Indonesia, this paper aims to addressed how the presence of time might affect, transform and even generate context specific interior architectural design methods that enables several dynamic forms of inhabitation. The out come of this study provides the opportunity for interior discipline to switch its focus, from the discipline that focuses on the aesthetic and constructional aspects, to the one that embraces the temporal aspectsof sociocultural conditions to enhance the wellbeing of its inhabitant.


Author(s):  
Vladimir Bystrov ◽  
Vladimir Kamnev

This article can be considered as the history of the concept of vulgar sociologism, including both the moment of the emergence of this concept and its subsequent history. In the 20th century, new approaches were formed in the natural sciences about society and man which assumed to consider all of the ideas from the point of view of class psycho-ideology. This approach manifested itself somewhat in the history of philosophical and scientific knowledge, but chiefly in literary criticism (Friche, Pereverzev). As a result, any work of art turns into a ciphered message behind which the interest of a certain class or group hides. The critic has to solve this code and define its sociological equivalent. In the discussions against vulgar sociology, M. Lifshitz and his adherents insisted on a limitation of the vulgar-sociological approach, qualifying it as a bourgeois perversion of Marxism. They saw the principle of the criticism of vulgar sociology in the well-known statement by K. Marx about the aesthetic value of the Ancient Greek epos. The task of the critic does not only reduce to the establishment of social genetics of the work of art because he also needs to explain why this work causes aesthetic pleasure during other historical eras. In the article, it is shown that later attempts to reduce the complete spectrum of modern western philosophy and aesthetics into a paradigm of vulgar sociology of the 1920s is an unreasonable exaggeration. At the same time, in discussions in the 1930s, the question of the need of the differentiation of the vulgar-sociological approach and a sociological method in general was raised. As for sociology, this question remains relevant even today.


2018 ◽  
pp. 29-36
Author(s):  
Nikolai I. Shepetkov ◽  
George N. Cherkasov ◽  
Vladimir A. Novikov

This paper considers the fundamental problem of artificial lighting in various types and scales of industrial facilities, focusing on exterior lighting design solutions. There is a lack of interest from investors, customers and society in high­quality lighting design for industrial facilities in Russia, which in many cities are very imaginative structures, practically unused in the evening. Architectural lighting of various types of installations is illustrated with photographs. The purpose of the article is to draw attention to the aesthetic value of industrial structures, provided not only by the architectural, but also by a welldesigned lighting solution.


2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions


Author(s):  
Muhammad Apriliyanto ◽  
Miftachul Ulum ◽  
Koko Joni

<em>The process of folding clothes is one of the activities carried out in the laundry business or household. The activity is fairly easy but many people are still lazy to do it. As a result, clothes that have been washed will fall apart in certain rooms, thereby reducing the aesthetic value of a home. Semi Automatic T-Shirt Folding Machine is the right solution to make folding clothes easier and more time efficient. This tool is equipped with a servo motor that moves the folding board that has been designed in such a way that the user only needs to manghandle the shirt just once and simply push one button then the shirt will fold itself and will be neatly arranged through the clothes stacker board. The PID method is applied to DC motors that move under the clothes folder so that the buildup of clothes underneath will not be pressured upward when the clothes are piled up when they are folded. Ultrasonic sensor will measure the right height between the clothes with the door opening the stacking clothes with kp = 1, ki = 0.1, kd = 0.5 for thin clothes and kp = 5, ki = 1, kd = 2.5 for thick clothes so that the movement of the motor can adjust its speed . This tool can fold one shirt in 16.83 seconds 11 seconds faster than folding clothes manually</em>


ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.


Author(s):  
Dominic McIver Lopes

A theory of aesthetic value should help us to make sense of how our aesthetic commitments matter to us as members of collectives. Aesthetic policies endogenous to aesthetic practices are directly justified by the network theory. The chapter looks at what aesthetic reasons we have to adopt exogenous aesthetic policies. Many argue that aesthetic practices deserve public support because aesthetic goods are public goods. A case is made for an aesthetic opportunity principle: larger social groups have reason to foster the aesthetic opportunities available to their members. The principle is applied to arts education and to communication technologies subserving aesthetic exchanges. The chapter ends with a discussion of how aesthetic opportunity interacts with—and can potentially counteract—oppressive social structures.


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