A New Kind of Building

Oosterhuis, Kas

doi:10.1007/3-7643-7674-0_9

Cited by 7 publications

(8 citation statements)

References 3 publications

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“…That is, well before we confront a design task and start forcing it into a familiar "box": Using Pen and Paper to start a design! Kas Oosterhuis denotes it in his book "Toward a new kind of building" as: inclusion and exclusion (Oosterhuis, 2011). To start a design process with plan and section in an exclusive approach is so poor.…”

Section: D Vs 3dmentioning

confidence: 99%

“…The Flatland-based designer will never touch upon the rich world of complexity. Space-landers can observe the flat-landers without any problem and flat-landers can see line-landers and linelanders can easily internalize the life of point-landers (Oosterhuis, 2011). Starting with a point cloud is a first solution to get rid of old conventional methods and aiming for inclusion (Figure 3.2, 3.3).…”

Section: D Vs 3dmentioning

confidence: 99%

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Enhancing [Spatial] Creativity – Enhancing creativity of architects by applying unconventional virtual environments (UVEs)

Mahdizadeh Hakak

2017

Architecture and the Built Environment

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Potentials of virtual environment for enhancing creativity of architects have shaped this research. There is no singular definition of creativity. In fact, there are more than 100 different definitions for creativity according to different contexts and disciplines. Nevertheless, it is possible to confine the boundaries of definitions and address creativity within a confined framework. The first practical step was thus to perform an in-depth literature survey to define a boundary condition for the widespread topic of “creativity” and identify vital research questions pertaining to creativity. In this regard, personality and behavior of creative people; mood, state, temper, intelligence vs. creativity, motivation and so forth were ignored. Instead, cognitive aspects of creativity such as thinking patterns, conceptual blending, idea expansion and tolerance of ambiguity have been focused upon. The second step was to test whether starting a design procedure with a 2 or a 3-dimensional mode of thinking has any correlation with creativity. An experiment pertaining to this test was designed in which participants were asked to perform the same design task once with 2D tools and environments (e.g. traditional pen and paper) and the next time by applying 3D tools and environments (e.g. 3D software). A jury of experts in the field of design subjectively compared the results and arrived at a conclusion that participates generated more creative ideas by implementing 3D environments/tools. The third step, involved the introduction of unconventional virtual environments (UVEs), which subsequently lead to the creation of a hypothesis. This hypothesis tries to connect navigation in UVEs with the enhancement of creativity. Characteristics of UVEs and theoretical arguments around the hypothesis were also discussed. The fourth step, involved a discussion on two effective parameters of creativity: 1- Tolerance of ambiguity 2- Conceptual blending Attempts to verify these parameters, lead to the formulation of two separate experiments. The conclusions of these experiments were as follows: 1- Tolerance of ambiguity has a direct relationship with creativity. Architects deal with multiple parameters during a typical design process. The ability to meaningfully process the relationships between such a multitude of parameters has also trained architects to possess a higher level of tolerance of ambiguity aiding them in postponing making hasty judgements. 2- By combining different ideas, one can formulate newer and much novel ideas. Ideas tend to become creative when more remote ideas are combined and synthesized. In order to prevent repetitive and self-similar ideas, the unconscious mind needs to be fed with more ideas, which the mind has not been exposed to. These new ideas/experiences can be generated by exposing one’s self to UVEs, since UVEs can expose one to situations and experiences which the brain cannot experience in the physical world. The fifth step, aims at understanding how the brain perceives different environments. Three different environments were chosen for an experimental study pertaining to the same: 1- Abstract environment 2- Semi-designed environment and 3- Fully designed environment. Participants were asked to provide a feedback by answering a questionnaire after navigating each of these environments. Simultaneously, their brain activity patterns were recorded via a professional neuropsychology apparatus. After analyzing the brain activities, in conjunction with the questionnaire, it became clear that perception of an abstract environment is completely different from the perception of a Semi-designed or Fully designed environment. This experiment consolidated the hypothesis that UVEs as abstract designed environments activate parts of the brain that are correlate with creativity. The sixth step, involved putting the hypothesis to a final test. A conclusive experiment was thus designed. The experiment won the Visionair fund of FP7 and was conducted in Italy. A UVE was designed using the software 3D max and was converted to 3D stereoscopic mode using a specific software: GIOVE; developed in ITIA-CNR, Italy. Using a 3D goggle and 6 axis mouse, a group of 20 participants were asked to navigate the UVE. They were asked to provide a written feedback pertaining to their feelings, expectations, strategy of navigation and in general, their experience. Their responses were collected and analyzed. The final step, involved answering the formulated research questions and discussing the final results.

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Section: D Vs 3dmentioning

confidence: 99%

Section: D Vs 3dmentioning

confidence: 99%

Enhancing [Spatial] Creativity – Enhancing creativity of architects by applying unconventional virtual environments (UVEs)

Mahdizadeh Hakak

2017

Architecture and the Built Environment

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“…Such robotic building components exhibit behaviours that follow simple rules in order to satisfy structural, climatic, or spatial requirements and build collectively a dynamic, intelligent environment (Oosterhuis, 2010). For that purpose, components are tagged and incorporate information regarding inter al.…”

Section: Robotic Buildingsmentioning

confidence: 99%

Robotic Building(s)

Bier¹

2014

NGBJ

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Technological and conceptual advances in fields such as artificial intelligence, robotics, and material science have enabled robotic building to be in the last decade prototypically implemented. In this context, robotic building implies both physically built robotic environments and robotically supported building processes, whereas reconfigurable, robotic environments incorporating sensoractuator mechanisms that enable buildings to interact with their users and surroundings in real-time require design to production, assembly, and operation chains that may be (in part or as whole) implemented by robotic means. This paper presents and discusses research and experimental developments in robotic building implemented more recently at Hyperbody.

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“…Buildings themselves increasingly move (e.g. not only through the many changes and compromises that are made through their design and conception process, but also because they are increasingly able to accommodate different (interactive) programmes, see Latour and Yaneva ; Yaneva , ; Oosterhuis ). Cities manage and store increasing amounts of information that are almost everywhere in circulation, not only fluttering like clouds over the streets and between buildings, but actively indexing interactions between people and other people, between people and buildings, between people and machines, between buildings and machines and between buildings and other buildings – the common experience of travelling by airplane provides extensive manifestations of the way information has become omnipresent (see Kitchin and Dodge ).…”

Section: Urban Networkmentioning

confidence: 99%