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06 DECEMBER 2013

Motive Architecture: spaces which engage social interaction

"Architecture traditionally has been considered the spatial backdrop to social interaction. But increasingly architects enabled by computational technologies are creating spaces that can engage actively within these social interactions. My research focuses on the non verbal aspects of human computer interaction, embedding kinetic behaviours into physical objects. ...

While increasing numbers of designers are using robotic systems to build novel performative objects and spaces, there is little discourse in design on what forms of motion are most engaging and why? I am exploring how, and when, we percieve animism and causality in moving objects as I hypothesise that the most salient of motions are those which give a subjective impression that something is alive. My research examines the minimal amount of motion required to elicit immediate and seemingly irresistible interpretations of life gaining inspiration from the perceptual research of Michotte (1946), Heider and Simmel (1944), and Tremoulet and Feldmann (2006). A test rig for suspending and animating simple geometric figures has been developed to test methods of eliciting anima. Computer vision systems have been developed in parallel to observe human levels of engagement and to explore novel forms of exchange between architecture and inhabitant."

(Ruairi Glynn)

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TAGS

Albert Michotte • aliveanima • animate form • animational communicationarchitectureautomation • Bartlett School of Architecture • believable charactersbuilt environmentcausalitycognitive science • computational technologies • design research • Fritz Heider • geometric figureshuman computer interactioninteractive architectureinteractive environments • Jacob Feldman • kinetic automatonkinetic bodily logoskinetic sculpture • Marianne Simmel • motive architecture • moving objects • non-linear sequence • nonverbal behaviour • novel forms of exchange • novel performative objects • Patrice Tremoulet • perceptual research • performative spacesphysical engagementphysical objects • Ranulph Glanville • reactive spacerobotic sculpturerobotic systemsRuairi Glynnsocial interaction • spatial backdrop • Stephen Gage • structural forces • test methods • test rig • time-based architecture • time-based art • triggered by stimuli

CONTRIBUTOR

Liam Birtles
05 DECEMBER 2013

How calculus is changing architecture

"So, working with Bentley and MicroStation, we've written a custom piece of software that networks all of the components together into these chunks of information, so that if we change any element along the length of the building, not only does that change distribute through each one of the trusses, but each one of the trusses then distributes that information down the length of the entire facade of the building. So it's a single calculation for every single component of the building that we're adding onto. So, it's tens of millions of calculations just to design one connection between a piece of structural steel and another piece of structural steel. But what it gives us is a harmonic and synthesized relationship of all these components, one to another.

This idea has, kind of, brought me into doing some product design, and it's because design firms that have connections to architects, like, I'm working with Vitra, which is a furniture company, and Alessi, which is a houseware company. They saw this actually solving a problem: this ability to differentiate components but keep them synthetic. So, not to pick on BMW, or to celebrate them, but take BMW as an example. They have to, in 2005, have a distinct identity for all their models of cars. So, the 300 series, or whatever their newest car is, the 100 series that's coming out, has to look like the 700 series, at the other end of their product line, so they need a distinct, coherent identity, which is BMW. At the same time, there's a person paying 30,000 dollars for a 300–series car, and a person paying 70,000 dollars for a 700 series, and that person paying more than double doesn't want their car to look too much like the bottom–of–the–market car. So they have to also discriminate between these products. So, as manufacturing starts to allow more design options, this problem gets exacerbated, of the whole and the parts."

(Greg Lynn, February 2005)

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TAGS

2005abnormalityalgorithmalgorithmic architecture • Antonio Gaudi • architecture • beautiful architecture • beauty • Bentley Motors • BMW • bridge • bubble diagram • buildingcalculation • calculus • Chris Williams • Christopher Wren • computational aestheticscontinuous series • curvature • custom software • dais • digital fabricationdigital toolsdimensions • Frei Otto • furniture • generic form • genetic evolutiongothic • Greg Bateson • Greg Lynn • harmonic • houseware • human-scale understandingideal form • intricacies of scale • Mannheim Concert Hall • manufacturingmathematics • MicroStation • model of beauty • model of nature • modular architecture • monstrosity • mutation • natural form • Norman Foster • parabola • part-whole thinking • physiological development • product designproduct differentiationproportions • Robert Maillart • structural abstractionstructural forcesstructural formstructuresymmetrysynthesised relationship • teratology • vertebrae • Vitra • vocabulary of form • William Bateson

CONTRIBUTOR

Simon Perkins
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