This paper discusses the use of parametrization and digital fabrication in architecture proposing a shift from increasing the architect's control over the final product (determinist paradigm), towards increasing users' interaction. It presents the design process of an experimental interactive object intended to meet the former discussion and test the limits and difficulties that might arise during the process. Such an object was developed by Lagear (UFMG), as a response to the exhibition Homo Faber: Digital Fabrication in Latin America, CAAD FUTURES 2015. Este artigo discute as tecnologias de parametrização e fabricação digital como ferramentas para além do determinismo e do controle do designer sobre o produto final. Essa discussão salienta o potencial da parametrização para além do processo de projeto, em direção à interação dos usuários, inserindo-os nas decisões sobre os espaços. Para investigar a abertura à interação via parâmetros apresentase o processo de produção de um objeto interativo experimental. Desenvolvido no Lagear (Laboratório Gráfico para Experimentação Arquitetônica), esse objeto foi produzido em resposta ao convite da exposição "Homo Faber: Digital Fabrication in Latin America, CAAD FUTURES 2015", pioneira no mapeamento de práticas arquitetônicas e urbanas na América Latina (Sperling and Herrera, 2015).Nas últimas décadas as ferramentas digitais têm sido fundamentais no campo da arquitetura para conceber, simular, representar, construir e documentar os edifícios. Parece haver a possibilidade de mudança de paradigma no processo de projeto convencional baseado no Renascimento, que separa concepção e construção, culminando com o desenho como o principal produto dos arquitetos. No entanto, ainda prevalece na produção da arquitetura a separação entre projeto, construção e uso, bem como dos envolvidos em cada uma dessas etapas. Mesmo que os produtos formais ganhem uma maior complexidade em suas volumetrias, ainda reproduzem fielmente, numa forma final cristalizada, as representações que lhes deram origem (Baltazar, 2012).Com o uso das ferramentas digitais, considera-se um bom projeto aquele que descreve de maneira detalhada e rigorosamente o que deve ser reproduzido na obra, restringindo ao máximo as discrepâncias entre o que foi concebido e aquilo que se concretiza. Com isso, a escolha pela utilização de processos computacionais comumente se pauta na possibilidade de obter maior controle sobre as etapas e o resultado do projeto. Processos como o Building Information Modeling (BIM) e o desenho paramétrico associados ao uso de ferramentas de fabricação digital tendem a criar uma ligação direta entre a representação digital e sua materialização física. Esta ligação direta entre projeto e fabricação, que Kolarevic (2003) chama de contínuo digital, já é um processo comum na indústria automotiva, aeroespacial e na construção de navios. Porém, foi somente na última década que os avanços nas tecnologias CAD e CAM impactaram a produção arquitetônica. Neste processo contínuo, o arquiteto passa a det...
This paper discusses the evolution of an interface used to introduce eletronics in the foundation design course at the School of Architecture at Universidade Federal de Minas Gerais, Brazil. The use of this interface by the students triggers the discussion of the possibilities of new technologies in architecture and initiates a tactical learning process in which the students are responsible for the very content they are learning. This interface introduces the discussion of interactivity and indeterminism, crucial to the development of the two main works of the course: an individual interactive object and an urban interactive intervention in group.
The Issue of Gaming in Contemporary Culture "Are we still in the game?" This banal phrase gains a terrifying meaning in the last scene of Cronenberg's film eXistenZ, when a puzzled character, on the verge of being murdered, asks his potential killer if they are still inside a virtual reality game. The scene denotes the crucial place the issue of gaming is occupying in contemporary culture. If we take sci-fi movies less as an exercise of future divination and more as symptom of our current feelings projected into the future, we can easily see how games are becoming a frequent metaphor that sums up our fear of a world dominated by technology. Matrix, eXistenZ and quite a few other films draw on this haunting idea that technology can be evil and that reality may be just a high-tech game of which we are not aware. In fact, life has often been thought of as a kind of 'divine play', with God either playing dice to decide our destiny or acting almighty over millions of voodoo dolls. The key difference in contemporary imaginary is that it is no longer God, but human beings (or machines and creatures designed by them) in charge of the game. Moreover, it is interesting to notice that this attachment of nightmarish meanings to games is happening exactly at a time when computers are becoming more than an ubiquitous tool for any purpose, and are acquiring an astonishing ability to accurately describe our environments and convincingly reproduce our bodily senses. The prospect of having a full, working, machinic simulation of the now-called 'real world', no matter how unattainable it might be, is giving a new face to the old free will dilemma: to what extent is life predeterminate and what is our space for creativity inside God's plot? In this context, the otherwise ancient and apparently innocent cultural activity of playing games has turned into this biased metaphor, in which the blurring of the borderline between life and game becomes a sinister menace. The Nature of Games, Their Cultural Role and the Four Categories of Games The question that crops up is why games were chosen to re-enact this ever-present human fear before the mysteries of the given world of nature. We know for sure that there is a convergence between game and culture, and that game principles are at the foundation of social institutions, as Huizinga has shown (46). He does not propose that culture is derived from games, but maintains that play is a key element at the beginning of culture, and continues to be an important feature as culture develops. But it is the French sociologist Roger Caillois who has devised a framework in which to approach play and games that can help us, contemporary gamers, to shed light on this question. Caillois proposed four categories in which every known game can fit: games of chance, where the outcome results from fate rather than player's skills; games of vertigo, that aim to impose a disorder in the bodily senses; games of competition, in which adversaries are provided with an artificial equality at the outset and compete to show their superiority; and games of simulation, in which players create an imaginary universe and see themselves as someone else. However, games don't have to fit into one category only. Several games present a combination between the different types, though they always present one fundamental aspect that overshadows the others. These four categories can easily be extended to the field of computerised games: games of chance -- random devices are simulated in the computer (dice, roulette etc); games of vertigo -- games that draw on the use of metaphors such as the labyrinth and detective role-play, in which the player has to pursue a task through winding ways. Browsing and surfing are also frequent metaphors for this type of game; games of competition -- the usual fighting and 'shoot-and-kill' games; games of simulation -- use of development and management metaphor scenarios in which the player can nurture and manage the development of a system such as a town, a civilisation, or even a child as in some Japanese games. A psychoanalytic interpretation of these four categories helps to get an even clearer picture of the role of games in contemporary culture. According to this theory, playing is a response to unconscious motivations, and games could fulfil a function similar to that of dreams, slips of the tongue and actions alike. Abadi proposes a direct psychoanalytic correlation for Caillois's categories: games of chance symbolise the death drive since it is a bet against destiny; games of vertigo, by pushing the senses to a radical level of disarrangement and ecstasy, denote the symbolisation of sexual intercourse; games of competition are related to the Oedipus complex -- the rivalry between parents and children, or amongst siblings; and games of simulation refers to the construction of identity, an occasion when players work out a way to shape their own identity roles (Abadi 85-93). While Caillois's classification organises games in a more legible way, to read them through a psychoanalytic framework is to bring them into the realm of desire, or we could say, to the realm of language, or yet to be more precise, to the realm of language as the discourse of a desiring subject. But as an inhabitant of language "the subject is not; he makes and unmakes himself in a complex topology where the other and his discourse are included" (Kristeva 274). So as game and language converge, with this underlying presence of the Other, we can paraphrase Julia Kristeva and consider games as a signifying system in which, through demarcation, signification and communication, the player makes and unmakes him- or herself; in other words, a kind of radical rehearsal terrain where players can experiment with a playful reinvention of themselves. In this light it is no surprise that games in general, and more specifically games of simulation, have acquired such a paramount role in our 'electronic age'. Confronted with a strange new technology, which is hard to understand because it works mainly at a microscopic level, and which brings up uneasy concepts such as 'virtual reality' and 'cyberspace' (a quasi-mythical ethereal space -- Wertheim 18), we seem to be going through an identity crisis. In the wilderness of this technological 'newfoundland', an uncomfortable paradise of simulation and cloning, the very essence of human identity, our free will, seems to be mercilessly seized in uncontrolled games, since we are unable to differentiate between computers as the Other and computer as a means to the Other. Games as Scenarios for the Interplay of Determinism and Non-Determinism However, the same metaphor of game can shift this scenario and revert itself into a tool to rethink the identity problem within our technological daily life, for what is at stake in a game is always the question of free will. The game is essentially a framework for uncertainty, allowing the co-existence of determinism and non-determinism: games of chance by definition include the idea of indeterminacy; games of vertigo deal with indeterminacy by inducing an uncontrollable confusion of the senses; games of competition include indeterminacy in the form of the unpredictable abilities of the competitors; games of simulation present a particular type of interplay between rule and indeterminacy, where the gap between the scripts/rules and the interpretation/gaming provides the sense of uniqueness each time it is performed/played. Thus, if games and their probabilistic features are put to work in our favour, it would be an answer to a much searched metaphor, a theoretical ground to pervade contemporary culture allowing for creativity in a pre-determined technological environment. Then, the idea of life as gaming, instead of inspiring fear, can serve as a way to escape the false tyranny of a machine based on logic algorithms, without falling into the nihilism of a romantic refusal of a true information age. Precisely because computers are based in coherent and logical algorithms, coupled with game principles they can be a milieu for the delicate and complex interplay of determinism and non-determinism (Bijl). Computers would cease being this monstrous 'big Other', and simply would stand as an ethical tool, a technological mediated way for touching the Other (Cabral Filho and Szalapaj). We then may be compelled not simply to rebuild or re-shape our identity, but to experiment and question the very idea of such a concept. By exploring the ambiguous and intricate gap between life as gaming and gaming as life, identity can be something that deals with the unknown, based on the always challenging idea of Otherness. As we leave the duty of coherence anchored in non-desiring machines (as Baudrillard has called computers), we are liberated to wander in auspicious new territories. Then, personality, gender, race, colour, and other aspects that were formerly associated with an ideal and immutable image, can become rather playful zones of experimentation. As an open field, identity may be just a nuance in a multitude of flipping horizons. Yet, as freedom is never an easy place to dwell, a disturbing question arises: will it after all be less scary? References Abadi, Mauricio. "Psychoanalysis of Playing." Psychotherapy and Psychosomatics 15 (1967): 85-93. Baudrillard, Jean. The Transparency of Evil. London: Verso, 1993. Bijl, Aart. Ourselves and Computers. London: Macmillan, 1995. Cabral Filho, J. S., and P. Szalapaj. "Otherness and Computers: Uniform Cyberspaces and Individual Cyberplaces." The Journal of Design Sciences and Technology (Special Issue: Philosophy of Design and Information Technology) 4.1 (1995): 29-43. Caillois, Roger. Man, Play, and Games. New York: Free Press, 1961. Huizinga, J. Homo Ludens. New York: Roy Publishers, 1950. Kristeva, Julia. Language -- The Unknown: An Initiation into Linguistics. New York: Columbia UP, 1989. Wertheim, Margaret. The Pearly Gates of Cyberspace -- A History of Space from Dante to the Internet. London: Virago, 2000. Citation reference for this article MLA style: José dos Santos Cabral Filho. "Flip Horizontal: Gaming as Redemption." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/flip.php>. Chicago style: José dos Santos Cabral Filho, "Flip Horizontal: Gaming as Redemption," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/flip.php> ([your date of access]). APA style: José dos Santos Cabral Filho. (2000) Flip horizontal: gaming as redemption. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/flip.php> ([your date of access]).
Purpose -The paper aims to present a framework for discussing ethics and computational design. Design/methodology/approach -The main propositions of computational design are presented, discussed according to different authors and contrasted with cybernetic principles. Findings -The paper finds that with algorithmic and parametric procedures, architects are using computation to reach a hitherto unknown ease of modelling multiple iterations of a design, so they can expand their possible design scenarios and cope with the uncertainties of ill-defined tasks. However, this strategy faces an ethical limitation because they fail to extend this openness to the final segment of the design chain, the user in the act of dwelling. Originality/value -The paper brings a cybernetic perspective for discussing the often-overlooked ethical implications of computational strategies in design.
PurposeThis paper seeks to describe an experiment carried out in the 1980s by a small practice called Céu do 3o. Mundo (C3M) relating to the application of cybernetics principles to a design process with special regard to house design in Brazil.Design/methodology/approachAfter discussing the peculiarities of architectural practice in Brazil, the paper presents C3M's design methodology, which is based on the creation of three models (“conceptual model”, “analogical model”, and “scale model”); a case study is presented and the results of the application of the methodology to several projects are discussed.FindingsThe paper shows that cybernetics principles are relevant for dealing with the Brazilian housing shortage, especially because it is an adequate framework to deal with the Brazilian culture, known for its informality, its social plasticity and its playful nature.Originality/valueThe correlation of cybernetics principles to the design of affordable houses is articulated through the concept of “indeterminate project,” intended as a project that would allow for flexibility, interpretation and adaptation.
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