Research of future furniture design : exploring trends and aesthetics in futurism

Conceptual furniture that appear in many movies can be a great source of inspiration. Unique artifacts are intended to create a sense of place within the physical and psychological context of the movie. Many science-fiction movies upgrade and expand perspectives to feature the technical nature of the background. Inside those films, intriguing furniture play a huge role to create the space and such different furniture designs. Imagining the specific characteristics of the designs that seem as though they belong in outer space, how do they contribute to the overall environment? Current furniture design spans a wide range of genres, and many recent movie films describe many new spaces with existing furniture. These designs illustrate a completely different environment, especially in science-fiction films that take place in outer space. The current technological trends affect the ongoing development of furniture design, and this thesis explores recent, past, and current trends to imagine a potential trend in the furniture industry. Therefore, my design research will find elements that explain future design and feature a body of work examining the next future furniture trends. I will develop a design process that integrates new technologies and making of furniture pieces

Raubeaux Scientician

The works contained in Raubeaux Scientician are about a triadic relationship between people, science, and art. The obsessions, of individuals and the apparent change brought about by their physical presence guide my artistic research. I am awestruck at the capabilities of the individual to overcome conventional thought and through creative action yield a new vision. Some of the people I am fascinated by put forth theories and inventions that continue to affect myriad aspects of our world today. Among those at the forefront are, Robert Oppenheimer, and Edward Teller. Their contributions to science and mathematics remain almost unmatched. These and many others on the Manhattan Project team were employing cutting edge physics in their atomic research. The decisions to go through with the testing and the resulting construction of atomic weapons quite simply changed the face of humanity forever. With the knowledge of how to obliterate mankind, however, came a closer understanding of nature and the universe. But was it all worth it? And what about the not so famous men and women on this project, those such as Stanislaw Ulam who felt the calculations for atomic testing were all wrong and traveled the scientific community to try and stop the making of the bomb. What if he had been successful in ending the use of these postulates

Towards a Phenomenological Theory of the Visceral in the Interactive Arts

This is a digitised version of a thesis that was deposited in the University Library. If you are the author and you have a query about this item please contact PEARL Admin ([email protected])Metadata merged with duplicate record (http://hdl.handle.net/10026.1/2319) on 20.12.2016 by CS (TIS).This thesis explores the ways in which certain forms of interactive art may and do elicit visceral responses. The term "visceral" refers to the cardiovascular, respiratory, uro-genital and especially excretory systems that affect mind and body on a continuum of awareness. The "visceral" is mentioned in the field of interactive arts, but it remains systematically unexplored and undefined. Further, interactive artworks predominantly focus on the exteroceptive (stimuli from outside) rather than the interoceptive (stimuli arising within the body, especially the viscera) senses. The existentialist phenomenology of Maurice Merleau-Ponty forms the basis for explorations of the visceral dimension of mind/body. New approaches to understanding interactive art, design and the mind/body include: attunements to the world; intertwinings of mind/body, technology and world; and of being in the world. Each artwork within utilizes a variation of the phenomenological methods derived from Merl eau-Ponty's; these are discussed primarily in Chapters One and Three. Because subjective, first-person, experiences are a major aspect of a phenomenological approach, the academic writing is interspersed with subjective experiences of the author and others. This thesis balances facets of knowledge from diverse disciplines that account for visceral phenomena and subjective experience. Along with the textual exegesis, one major work of design and two major works of art were created. These are documented on the compact disc (CDROM) bound within. As an essential component of each artwork, new technological systems were created or co-created by the author. User surveys comprise Appendices Two, Three and Four, and are also online at: www. sfu. ca/-dgromala/thesis. To access the URL: login as , and use the password . Numerous talks, exhibitions and publications that directly relate to the thesis work is in Appendix One. This work begins with an introduction to Merleau-Ponty's ideas of flesh and reversibility. Chapter Two is the review of the literature, while Chapter Three is an explication of the hypothesis, an overview of the field, and a framing of the problem. Discussions of each artwork are in Chapter Four (The Meditation Chamber), Chapter Five (BioMorphic Typography) and Chapter Six (The MeatBook). Chapter Seven forms the conclusion. References to the documentation on the CD are found throughout the thesis, and italicized paragraphs provide an artistic context for each chapter

IMPLEMENTING BIOMORPHIC DESIGN PRINCIPLES IN AN URHOBO CULTURAL MUSEUM FOR SAPELE, DELTA, NIGERIA

Biomorphic design principles are architectural principles that create objects, structures, and systems by taking inspiration from the natural world. The word “biomorphism” comes from the combination of the terms “bio,” which refers to life or living things, and “morph,” which describes form or shape. The biomorphic design aims to mimic, duplicate, or absorb the structures, patterns, forms, and functions present in the living world. The biomorphic design principles include Fluidity, Use of Natural Forms, Geodesic Considerations and Technological Advancements. On a global scale there has been growing awareness of biomorphism and its implementation has been greatly encouraged due to the trend of design steering towards sustainability and energy efficiency, whereas nationally in the Nigerian construction industry the implementation of biomorphism is not as widespread, and this phenomenon has affected the way buildings have been designed/constructed which also affects museums. The aim of this study was to identify the most efficient way to implement biomorphic design principles in the design of a museum to enhance user comfort/artefact preservation in Sapele, Delta State, Nigeria with the following objectives to help achieve this; Examine the factors that determine biomorphic design principles in cultural museums in Delta, Nigeria, Examine the biomorphic design principles that enhanced artefact preservation in cultural museums, Delta, Nigeria., Examine the biomorphic design principles that improve user comfort in the cultural museum design, Delta, Nigeria and to Design a cultural museum incorporating biomorphic design principles to improve artefact preservation and user comfort in Delta, Nigeria. The methodology employed for this study was the mixed-method approach, this was done through the use of questionnaires and an observation guide to be able to get the full perspective when carrying out field work. According to the data collected it was found in the study that Technological Advancements was the most important factor that determined biomorphic design principles, Fluidity was the most effective biomorphic design principle when it came to enhancing artifact preservation and the use of natural forms was the most effective at improving user comfort. The results acquired from this study was information that would adequately inform the design of an Urhobo cultural museum that embodies the biomorphic design principles. In conclusion this study shows the importance of biomorphic design principles and how it can be implemented in the design of museums and any other building type. This study contributes to understanding biomorphic design principles in museum design, sheds light on its challenges and opportunities in Delta State’s cultural context, and proposes a replicable model for its application in Africa. Questionnaires gathered data from residents of the study area, and case studies were used to collect information on selected museum

Portmerion, Proportion and Perspective

The holiday village of Portmerion was created by Bertram Clough Williams-Ellis (1883 1978) over a period of fifty-one years, starting in 1926. It was grade II listed in 1971. However, Portmerion has become a part of western popular culture rather than of mainstream architectural history. Its use as the setting for the cult 1967 television series “The Prisoner” ensures continued worldwide interest and a constant stream of visitors. Williams Ellis’ design methods were empirical, initial designs being adjusted by eye on site in close collaboration with trusted builders. This paper analyses the development of Portmerion as a gesamtkunstwerk; considering the experience of movement through the village as a dynamic composition of shifting vistas, focussing the visitor on a series of constructed views. Through this analysis, Portmerion is revealed as both a manifestation of the architecture of pleasure and an exercise in the pleasure of architecture

The Epistemic Advantage of Self-Analysis for Cultural-Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey

The article is devoted to analyze different versions and drafts of the 1923 Warburg’s Lecture, held in Kreuzlingen in 1923, on his travel to the United States in 1895/96, at the end of his long convalescence in the sanatorium of Ludwig Binswanger, as well as the respective lectures of 1897. This essay focuses on how the dispersion of these texts, their different dates and interferences in publications over decades had epistemological implications in the interpretation of his famous Conference. Thus, the contrast between fundamental points of these texts, both in their forms and contents – including deliberate terminological fluctuations –, raises theoretical questions that interfere with the understanding of Warburg’s work in its methodological specificity. It stands out his insertion in the style of characteristic thought identified as a movement of Kulturwissenschaft, the specificity of the relations of his work with Anthropology and Philology, but also with Psychoanalysis, especially in the process of certain Freudian formulations elaborated from a process of self-analysis