Tema: Interactividad
Chapter 1 > architectural representation
Conclusion
Architectural representation based on projective geometry has shaped the cognition and production of acrchitectural space since the Renaissance. It poses important shortcomings when it comes to the incorporation of experiential or sensual qualities, given the belief that the essence of architecture is in the direct interactions of humans with their architectural enviorments. The systematic approach of traditional architectural representation is not able to visualize phenomenal experiencies. Mobility and the juxtaposition of mental images, based on memories and empirical knowledge, enables us to be sentient to architectural phenomena, Our entire pereptual system is actively engaged with the built enviorment. Therefore the challenge lies in representing intangible qualities of architectural experience for both architectural inquiry and design research.
Archicetural representations in the form of motiongraphics provide a great potential to incorporate teh human condition in space, wich is technically lost in the reductive and abstract character of traditional line drawings. Motion-graphics can be effectively used in architectural inquires and design generation. They can be utilized in representating experiential quialities of architectural space, such as the movement through or around buildings and sites, as well as representing non-visual phenomena. Such studies would be certainly valuable for both analytical and generative purpose. Motion-media can be applied to study and evaluate certain natural phenomena, the effects of witch people realize on a daily basis but were not able to visualize and quantify easily before the advent of computer technologies. These inquiries can lead directly to extraordinary form generations.
Chapter 3 > motion paths in architecture
Motion Perception
When we are moving through an architectural space, certain optical flow patterns occur that organize surfaces within the optical flow patterns occur that organize surfaces within the optical view and give us information on distances of objects and the rate of change within the space. Our views change continuously; perspective transformations happen on surfaces and objects, and certain parts along the edges of our visual field get occluded, deleted, or added.
Le Corbusier: “it is most exhilarating when we can sense our movement in relation to another person on another path, catching and losing sense of that person... Then we are acutely aware of our own movement by its periodic relation to that of another participant.
Motion Paths in Architecture
One of the major challenges when dealing with digital representations is predicting human movements in architectural space. Movement is tightly linked to a path, which allows humans to capture diverse views of an architectural object or ensemble. The path can be regarded as a literal route followed by the body, or an imaginary story line followed by the mind. In both cases, The path is a vehicle for humans to take in a multiplicity of phenomena sequenced into a meaningful experience.
There are fundamental similarities in navigational and organizational principles among the disposition of views in the promenade architecturale, in contemporary shopping malls, in urban enviorments and in motion pictures. In all cases, the view is never gained from a fixed point in space, butr rather from a moving viewpoint that forms a perception of the architecture.
Linear movements: continuous paths
These types of movements have a clear origin and destination and impress upon viewer a clear sense of continuity. They can have a key moments along the way.
Linear movements give the viewer an awarness of bodily motion through passage, rhythm, and time. They can be along strictly axial or curvilinear paths, or can be more loosely connected by associational paths
Non-Linear movements: segmentes paths
Non-Linear movements sometimes do not have a clear sense of origin or destination. The circulation hinges on a narrative that allows for multiple readings of the architecture. The way people navigate through such spaces is by architectural constants. Non-Linear movements can form branch-ing paths, cross axial paths, or originate from field- or hyper-spatial situations.
Dynamic Surfaces
Unlike, static surfaces actually change or move before the eye. Externally simulated surfaces change in response to an outside simulation. Programmed surfaces change in acordance with pre-programmed patterns. Kinetic surface while externally simulated and programmed surface typically change just their appearence, kinetic surfaces are able to change their shapes and geometries.
Interactive surfaces
Interactive Surfaces are similar to externally stimulated surfaces, exept that they change their appearence in direct response to human interaction. In doing so they create the deepest level of human interactionn with architecture in motion, approaching the point at wich movement in architecture meets architecture in motion.
As can be seen, dynamic surfaces are capable of responding to enviormental as well as human stimulation, and of registering responses through both active and passive technologies. Apart from its materiality, which remains constant, there is virtually no aspect of a dynamic surface that cannot change in response to stimulation. This includes color, shape, location, size, density, and depth.
Chapter 4 > basics of digital media
Conclusion
Computer models can describe and summarize a project’s structure, program, and aesthetics, and illustrate important experiential and material qualities of architecture. However, digital imagery can go beyond painterly representations and be utilized in novel ways to generate immediate feedback loops.
In this way, they can aid in representing how the parts come together, its structure or assembly logics, and the phenomenological characteristics of architectural space.
Chapter 5 > motion-graphics
Blue-screening: blending human actions into motion-graphics
Digital iamges are fundamentally different form traditional architectural representations. They are constructed from discrete integer values, which are constructed form discrete interger values, wich are converted in color pixels. The interger values can be easily modified through mathematical operations, allowing the genration, distribution, and manipulation of digital images to be much more fficient as compared to analog media. This flexibility of digital images paved the way for the widespread use of computer graphics architectural practive.
Messages, narratives and ideas
In hyper-sequential narratives, the story is formed in an interactive way. The narrative is created mutually by the designer and the viewer, and the end-product is interdependent. It permits multiple ways of viewing the roject. The viewer can create different narratives from real-time shots, as in interactive video games or web enviorments.
Conclusion
Motion-graphics work is very useful in terms of visualizing experiential and analytical qualities of space, or even for generating design solutions.
Motion-graphics tools is a very convincing and powerful tool through which a certain design idea can easily be advocated and communicated to literally ani kind of audience. Motion-graphics does not require the knowledge of traditional graphic conventions, or additional explanations, and will increasingly replace physical models and perspective drawings.
Chapter 6 > Synthetic media environments
Virtual augmented reality applications are essentially computer-generated digital media enviorments, which entirely or partially substitute reality with synthetic representations. Virtual reality is used in practically every field of human endeavor: engineers, scientists, archaeologist, historians, game producers, literally anyone that has to deal with the representation of interactive hard-to-acces realities, such as the representation of nano-tissues or assemblies in material science, flight simulations, or representation of entire galaxies and solar systems, virtual reality projections allow users to interact with synthetic computer environments, which replicate reality or form entirely imagined worlds, as in interactive video games, and various forms of immersive enviorments. If synthetic imagery is mixed with real vision in real context, it produces augmented reality.
Virtual Reality Can architecture be heard, touched, or sensed? We see form and materiality throught the reflection of light. In a similar way, sound reflections, hptic information, and certain odors give us an impression of space, too.
We are rarely aware of the variety of sensory information that we gain when walking through a building and do not pay much attention to what our senses contribute to our perception of space.
Augmented reality
The matching of synthetic views with the visual world is dependent on a set of parameters that recognize, first, the viewer’s position and orientatioin in respect to the visual world and, second, the location of the view itself within global coordinate system.
Chapter 7 > computer models in practice and education
Throughout history, human beings have developed tools and methods to convey their thoughts and feelings. Cave drawings, woodcuts, sketches, projections, motiongraphics, digital models, and renderings were invented to reflect human cognitive processes. Through the help of graphic representations, humans were able to assimilate information, understand their enviorment, and ultimately, generate knowledge. “Primitive Man cannot think directly in non-sensory, conceptual terms,’ claimed Hegel, ‘anymore than one can perform pure arithmetic before one has done such things as count one’s own fingers’. In other words, representations help us to visualize thought. They are entwined with cognitive action. The authors of Visualization Information claimed that the entire progress of civilization, ‘from writing, to mathematics, to maps, to printing, to diagrams, to visual computing’, is based on the invention of visual artifacts. It can be argued that the history of representation is the search for new tools to improve the methods of knowledge.
Conclusion
The attractiveness of computer models lies not in how they can mirror an existing building or objects as it appears to our eyes or performs in reality, but their capacity to communicate hard-to-acces realities. That is, computer models offer access to realities, that one could not see and experience otherwise, such as a cut through a building, volumetric relationships of masses (such as in physical models), assembly structures of floors, mechanical systems, circulation patterns, or itineraries of human movements through spaces.
Chapter 9 > Design inquiries
Algorithmic design
Computer systems are made on procedural algorithms. An algorithm is a step-by-step instruction given to the computer to perform a certain task. It is similar to an ikea how to do assembly manual: one has to perform one task after another in order to achieve the end-product – the assembled piece of the furniture piece is, and how it looks, in order to produce clear and simple instructions to montage it together. Therefore it is a deterministic process; the instructions have to be unambiguous – that is, they have to produce the same result every time the algorithm is performed. They also have to end at some point, in other words terminate after a certain time, in order to avoid recurring loops; and, most importantly, the procces has to produce the expected outcome.
Emergent design
However, algorithmic design becomes more interesting if one can use it in a non-deterministic way, so that design is not pre-determined but can emerge from the design proccess. For example, in emergent design algorithms, the procedures are open-ended, and form emerges gradually form a seed algorithm. The resultant forms are constantly evaluated and filtered according to some ‘fitness’ criteria.
Communication
Architectural representation is first and foremost a vehicle for communication. Like any languaje, it requieres abstract thoughts to be symbolized through a graph that can be understood by everyone who is part of an architectural project. In other words, it is a vehicle to transmit visual information among number of participants throughout of the design process.
Conclusion
The issue is not one of technology, but of how we imagine its use in representating and understanding architecture. What is important is that we now have a way of actually representing many fundamental aspects of how individuals actually experience or understand achitecture – a way that in a techonological sense can only imporve over time. Equally important is the potential for motion graphic thinking about design tool and as an aid in thinking about design – a potential that remains surprisingly unexplored.
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