The human species is adaptable. We can move about at will, control items, and function in a variety of settings. In evolutionary terms, there was a moment not too long ago when our ability to move and adapt constituted the foundation of our existence. In fact, we owe our continued existence as a species to these traits. It may be that after a few thousand years of largely sedentary existence, adaptability is once again gaining importance in human development and that technological, social, and economic changes are forcing, or at least encouraging, a new kind of nomadic existence based on international markets, the internet, and affordable, quick transportation.
The flexibility of architecture is closely related to its success. Individuals utilize their homes and places of employment in their own unique ways. A frequent trait of turning a structure from an impersonal area into a particular "location" is changing your surroundings to suit your needs.
DESIGN FOR FLEXIBILITY
In this workshop our task was to interact with various materials and discover the possibilities to arrange those materials together with different methods and techniques. The ability to play with all the materials was very crucial. It depends upon the understanding of materials by perspectives of different people as every individual interacts with materials distinctively.
The objects that I brought with me are the following
Buildings are envisioned, built, and experienced in new ways as a result of the development of new tools and techniques. There is growing interest in performance as an architectural design paradigm because of recent advancements in technology, cultural theory, and the growth of sustainability as a key socioeconomic issue.
The Delusion of Creating
I arranged all my materials in a specific way to make them look like the interpretation of "A flexible space within a rigid body".
Even while what passes for architectural design nowadays frequently amounts to nothing more than a manipulation of geometric spatial conceptions, the experience of architecture is never purely spatial. In fact, the environment we live in is full with sensations and feelings that result from our physical activities and interactions with it. The mobility of our embodied consciousness entails time, and perception is never merely a passive receiver.
Perception is what a person individually and subjectively perceives. I was far more interested in studying space as an objective fact and learning more about its universal characteristics, which might subsequently be used in the process of designing an architectural structure.
Creating the Options and Facilitating the Choice
It is crucial to make clear that, despite the possibility of linking this research to current investigations of adaptive, interactive, and performative structures, the goal of this work is to contribute by fusing traditional concepts with modern theories and technologies. By connecting engineering knowledge of scissor-pair transformable structures with artificial intelligence theories and methodologies on robotic control in unpredictable situations, the goal is to realize and radicalize the key concepts regarding indeterminate architecture. Robotic control radicalizes indeterminacy by allowing the structure's behavior to be changed in real-time, in contrast to scissor-pair transformable structures that materialize indeterminacy through mechanical and physical shape variation.
The ambiguity that designers experience over the potential outcomes and circumstances that their designs may cause after being built and throughout time. The vision advocated developing ambiguous solutions. The new orientation proposes transformable settings capable of offering a range of choices to be defined and redefined by the users in real-time rather than developing singular fixed and ideal solutions: A building is reduced to an ambiguous, transitory, and virtually immaterial building environment in such an indeterminate design that is receptive to ambiguity, incompleteness, and emergent scenarios.
THE THEORY OF AFFORDANCES
James J. Gibson
From: The Ecological Approach to Visual Perception
The surfaces that divide materials from the medium in which creatures exist are what I have referred to as the environment. The terrain, shelters, water, fire, artifacts, tools, other animals, and human displays have all been mentioned in my description of the opportunities the environment provides for animals. From surfaces to affordances, how do we proceed? And if light contains information for the perception of surfaces, does it also contain information for the perception of the opportunities that surfaces present? It's possible that surfaces' design and composition determine what they offer. If so, seeing them is seeing what they can afford. This is a radical theory since it suggests that objects' "values" and "meanings" can be directly perceived. Additionally, it would clarify the manner in which values.
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