1,221 research outputs found

    Defining a Novel Meaning of the New Organic Architecture

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    Starting an overall investigation by categorizing current bio-inspired architectural design developments into “Material”, “Morphological”, and “Behavioral” to explore a novel definition of the “New Generation Organic Architecture”. At present, people are confronting the unprecedented unification of machine and biology which has been revealed by the means of advancing industrial processes towards the organic model. In his remarkable publication, “Out of Control: The New Biology of Machines, Social Systems, and the Economic World” (Kelly, 1995), Kevin Kelly makes an interesting observation that “Machines are becoming biological and the biological is becoming engineered”. In other words, the clear boundary of machine vs biology is blurring through current technological developments. In “Out of Control”, Kevin Kelly has further made several explicit points to support his views, that Industry will inevitably adopt bio-inspired methods: It takes less material to do the same job better. The complexity of built things now reaches biological complexity. Nature will not move, so it must be accommodated. The natural world itself—genes and life forms—can be engineered (and patented) just like industrial systems. All the crucial points described above can be easily observed in the architectural industry as well. Each statement corresponds with material optimization, multidisciplinary technologies, evolutionary processes, and genetic engineering which are all involved in current digital architectural design developments. After years of evolution, the developments of “Organic Architecture” have been now separated into various research focuses which are distant from the original idea coined by the well-known American architect, Frank Lloyd Wright. A group of followers still insist on maintaining Wright’s original idea to develop buildings which are green and sustainable, they fit or even blend into the surrounding environment as a whole. But since the power of personal computers and sophisticated modeling software has become relatively easy to access and is employed in all aspects of architectural design, various experiments have been conducted in the last decade, which try to outline a number of new definitions pertaining to “what are the essential ideas/principles of ‘Organic Architecture’?”. Nature has undoubtedly always been the greatest inspiration for the manmade industry, technology, and architecture. This development has only escalated with the assistance from computational technology over the last few decades. The thesis will preview the pros and cons of current design developments under the big umbrella of digital organic/bio-inspired architecture. This discussion will be categorized into three major divisions: “Morphological”, “Material”, and “Behavioral” owing to the different focus of computational applications within each one of them

    NOISEwear: development of an interactive garment that emphasizes noise through light

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    One of the factors that determine the quality of our daily lives are sound and noise. They can be a positive contribution to it, or a burden and stress factor, or even a health risk factor. Based on the premise that it is harder to ignore what we see than what we hear, the team developed a garment that senses environmental noise and shows it through lighting. In this way, people are made aware about the noise around them. In this paper, we describe and discuss the design process of the interactive garment developed, which communicates with the user and other people around through light

    An interactive interior design syatem using desktop virtual reality technology

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    In the design plan of a living room, a 3D simulation can provide a much better sense of what and how the living room would look like. This 3D simulation can provide better perception of the living room plan rather than simply sketches, drawings, or catalogues. Generally, the objective of this project is to design and develop a virtual interior design of a living room which allows the users to visualize and also change some of the attributes of the living room using the VR system to their own preferences. For this project, two virtual living rooms with two different sets of interior design we re constructed. The virtual living room was constructed using V RML text editor as well as 3ds M ax 7 software. Software such as Adobe Photoshop CS and Microsoft Visual Basic 6.0 has been chosen as the tools for designing and developing the interface of the virtual living room control panel. The system developed enables the user to change the color and texture of some of the furnishing attributes as well as being able to switch the lamps on or off. The system’s usability is evaluated using the Cooperative Evaluation Technique that brings together designer and user in a cooperative context. With the VR system that is able to navigate, define and modify the living room virtually, this system can play an important role as a user interface system for virtual experience

    An aesthetic for sustainable interactions in product-service systems?

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    Copyright @ 2012 Greenleaf PublishingEco-efficient Product-Service System (PSS) innovations represent a promising approach to sustainability. However the application of this concept is still very limited because its implementation and diffusion is hindered by several barriers (cultural, corporate and regulative ones). The paper investigates the barriers that affect the attractiveness and acceptation of eco-efficient PSS alternatives, and opens the debate on the aesthetic of eco-efficient PSS, and the way in which aesthetic could enhance some specific inner qualities of this kinds of innovations. Integrating insights from semiotics, the paper outlines some first research hypothesis on how the aesthetic elements of an eco-efficient PSS could facilitate user attraction, acceptation and satisfaction

    Silent Music and Sacred Sounds of the Hoysaáž·as: Visual and Aural Sensory Experiences in Jain and Hindu Temples

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    This project examines affective responses to temple spaces and investigates how visual and aural sensory stimulations can amplify people’s experiences in Jain and Hindu temples through ethnographic research and qualitative interviews. It involves the study of the traditional Indian methods of designing and planning temples to understand their place in contemporary South Indian devotion. This project focuses on two twelfth century temples built by the Hoysaáž·a dynasty in the South Indian state of Karnāáč­aka—the Jain Pārƛvanātha basadi (temple) at Haáž·Ä“bīឍu and the Hindu VaiáčŁáč‡ava Chennakēƛava temple at BēlĆ«ru—to show that their location, design, and structure were planned to cater to the people’s senses. Through the concept of placemaking, this thesis argues that the architecture of these temples is critical as a placemaking device that enriches the Jain and Hindu devotees’ sensorial experiences through the union of art, performance, ritual, and sound

    An aesthetics of touch: investigating the language of design relating to form

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    How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities
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