Hybrid thinking in a perpetual state of learning
“It thus can be said to be situated in between order and disorder, or, using a recently fashionable expression, "on the edge of chaos".”_ F. Heylighen
1996
Complexity is a term that gives identity to a system of parts or the function of assemblage. It creates a mode in which a method of absorbing or acquiring knowledge is possible. Through this new path of thinking your mind can collaborate previous ideas and current ideas into a useable unit. Simultaneously it is the juxtaposition of one part or idea to another that creates an interdependent existence. From this interdependence there emerges a new idea or a hybrid system that is more versatile and more apt to handle its purpose. Complexity can be further seen as an evolutionary process that reacts to its surroundings. As one element is added to the sequence of previous elements, it creates a system that is needed to adapt to. As this occurs, complex solutions are formed to provide for the people or the structure it entails.
_gap _drc
References:
F. Heylighen, What is Complexity?
http://pespmc1.vub.ac.be/COMPLEXI.html
Image:”Research & Sustainability”
http://www.edc.ncl.ac.uk/assets/hilite_graphics/rhnov06g01.png
Wednesday, February 18, 2009
Wednesday, February 11, 2009
Complexity
Complexity
As a level of chaos
“A complex system that works is invariably found to have evolved from a simple system that worked. A complex system designed from scratch never works and cannot be patched up to make it work. You have to start over, beginning with a working simple system.” John Gall
2008
Complexity is the level of chaos brought together to create a uniform design working as one. When complexity is created throughout a design, it conveys a simplistic meaning of efficiency and order. A system of interacting elements can have a deeper meaning as the structure/system moves together within itself. Though the interactions of the parts in a “disorganized complexity” situation can be seen as largely random, the properties of the system as a whole can be understood by using probability and statistical methods. In the sense of how complicated a problem is from the perspective of the person trying to solve it, limits of complexity are measured using a term from cognitive psychology, namely the hrair limit. “The concept of the hrair limit is illustrated by imagining the six faces of a die used tp play dice. It is easy for many people to visualise each of the six faces. Now imagine seven dots, eight dots, nine dots, ten dots, and so on. At some point it becomes impossible to visualise the dots as a single pattern, and one thinks of, say, eight as two groups of four. The upper limit of your visualisation of a number represented as dots is your hrair limit for that exercise.”( neohumanism.org ) Complexity coexists with the chaos theory, which is the study of a system that appears to be random but in theory could be a system of complex networks.
References:
John Gall, What is Culture?
http://www.37signals.com/svn/posts/1414-a-complex-system-that-works-is-invariably
Image:”Live Modern” (Image adapted)
http://livemodern.com/everglades_house1_small.jpg
Hrair limit
http://neohumanism.org/h/hr/hrair_limit.html
As a level of chaos
“A complex system that works is invariably found to have evolved from a simple system that worked. A complex system designed from scratch never works and cannot be patched up to make it work. You have to start over, beginning with a working simple system.” John Gall
2008
Complexity is the level of chaos brought together to create a uniform design working as one. When complexity is created throughout a design, it conveys a simplistic meaning of efficiency and order. A system of interacting elements can have a deeper meaning as the structure/system moves together within itself. Though the interactions of the parts in a “disorganized complexity” situation can be seen as largely random, the properties of the system as a whole can be understood by using probability and statistical methods. In the sense of how complicated a problem is from the perspective of the person trying to solve it, limits of complexity are measured using a term from cognitive psychology, namely the hrair limit. “The concept of the hrair limit is illustrated by imagining the six faces of a die used tp play dice. It is easy for many people to visualise each of the six faces. Now imagine seven dots, eight dots, nine dots, ten dots, and so on. At some point it becomes impossible to visualise the dots as a single pattern, and one thinks of, say, eight as two groups of four. The upper limit of your visualisation of a number represented as dots is your hrair limit for that exercise.”( neohumanism.org ) Complexity coexists with the chaos theory, which is the study of a system that appears to be random but in theory could be a system of complex networks.
References:
John Gall, What is Culture?
http://www.37signals.com/svn/posts/1414-a-complex-system-that-works-is-invariably
Image:”Live Modern” (Image adapted)
http://livemodern.com/everglades_house1_small.jpg
Hrair limit
http://neohumanism.org/h/hr/hrair_limit.html
Monday, February 9, 2009
WebCast
Event Name: Design Visualization Webcast Series: Design Vis Expert
Tips Webcast
Date and Time: 2009-Feb-11
10:00 AM - 11:00 AM - Pacific Standard Time
Webcast URL:
https://www.livemeeting.com/cc/autodesklearning/join?id=DV_02_11_09&role=att
end&pw=Audience
Hosted By: Autodesk, Inc.
Event Contact: Jeremy Schmitz
Email questions to:
jeremy.schmitz@autodesk.com
Additional Information: Meeting ID: DV_02_11_09
Attendee Meeting Key: Audience
Call In Info:
Toll Free Phone Number: +1 (888) 603-7095
Toll Phone Number: +1 (312) 470-7057
Participant Code: 5136389
Tips Webcast
Date and Time: 2009-Feb-11
10:00 AM - 11:00 AM - Pacific Standard Time
Webcast URL:
https://www.livemeeting.com/cc/autodesklearning/join?id=DV_02_11_09&role=att
end&pw=Audience
Hosted By: Autodesk, Inc.
Event Contact: Jeremy Schmitz
Email questions to:
jeremy.schmitz@autodesk.com
Additional Information: Meeting ID: DV_02_11_09
Attendee Meeting Key: Audience
Call In Info:
Toll Free Phone Number: +1 (888) 603-7095
Toll Phone Number: +1 (312) 470-7057
Participant Code: 5136389
Saturday, February 7, 2009
Context | Objectives
arch 352 _ design III COMPLEXITY
Monday/Wednesday / Friday 1:00pm – 4:50pm
Lectures / Workshops / Pinups/ Desk critics/ Discussion.
Location: TBA
Yeshayahu Shai shaiy@siu.edu,
Quigley hall 406 ; MW 9-12 and by appointment .
Appiahene-Agyei, Kwame; Barth, Christopher Timothy; Brothers, Nicholas Scott;
Corte, Daniel Robert; Daugherty, Rhonda Christina; Garnett, Brandon Paul; Haney, Dempson Jerry, III;
Lockhart, Derek Colby; McGregor, Mitchell Lee; Medsker, David Alan; Ogrzewalla, Adam Robert;
Oliva, David Joseph; Perkins, Gregory Austin; Wegler, Jack Louis
Course Description Completion of complex design projects in varied environmental settings. Rapidly paced projects designed to provide the maximum exposure to complex architectural typologies. Analysis of facility program toward management of complex patterns. In addition as a direct continuation of 351 context, our studio will explore the study of contemporary architectural phenomena’s as they relate to environmental settings and complex architectural typologies. Prerequisite ARC 351, 381 and major in architectural studies or consent of SOA’s director
Course Objectives
1. Learn architectural design by experiencing a series of appropriately complex architectural projects.
2. Obtain the ability to make a comprehensive analysis and evaluation of a building, building complex or urban space.
3. Apply basic organizational, spatial, structural, and constructional principles to the conception and development of interior and exterior spaces, building elements, and components.
4. Acquire an understanding of the basic principles that inform the design and selection of life-safety systems in buildings and their subsystems.
5. Reinforce the issues of sustainable design, as one aspect of the design of complex architectural typologies, through repeated application of the principles.
6. Acquire an ability to identify and assume divergent roles that maximize individual talents, and to cooperate with other students when working as members of a design team
Course load 5 Credit hour = 12 hours/ week studio time +30 hours/ week of your
Input time outside class. i.e. reading, drawings, model building etc…. Attendance Attendance is expected in the design studio at all times. Any more than one absentee will result in a grade drop per incident. An absence will be excused with documentation for; medical reasons, family emergency, etc. and student must present verification of excused absence at the next scheduled class attended. Likewise early departure/ late arrival will be considered as an absentee.If you fail to show to studio, it is your responsibility to obtain any missed information. Evaluation Grades will consider the originality and appropriateness of the idea, the project's completeness, the quality of presentation, and the effort put into the submission. Both content and presentation format are crucial to the evaluation of design projects. It is based on the general quality, clarity, and development of the design, as well as how the student and or group addressed specific issues in each new project. Evaluation of presentation will consider the quality, precision, and craft of the presentation, as well as the effectiveness and clarity of the formal presentation - this includes the verbal presentation of your work. Thus, neither merely completing all the presentation requirements, nor merely having a good idea, will be enough to achieve a good grade. Curiosity and inquiry, ability to respond to criticism, ability to generate and criticize your own ideas, responsibility, and work ethic all play a role in the evaluation process. Submission of Work Assignments and projects must be turned in at the specified time and place. Late projects with an excused absence, as defined by the university’s guidelines and with prior notification to the instructor may be accepted. Late projects with an unexcused absence will be penalized by deducting one grade for each day the project is late, including weekend days.
Grading
Writing 15% 12 blog entries
#1 20% grasshopper; GC week 1-3 Nature up close - parametric modeling
#2 25% Dfl week 4-6 Operative - fabrication and assemblage
#3 40% thematic project week 7-13 h2O
Week 13-15 Studio Installation and summary publicatio
{More about each project will be discussed in due time. }
Grading Scale 92 -100 = A; 83 - 91 = B; 74 - 82 = C; 65 - 73 = D; 64 or less = F
INC - Incomplete will be used only in exceptional circumstances beyond the control of the student and the student must be passing the course with a C or better at the time.
Grades will be given in person, usually within 72 hours of the date of submission. If you choose to contest a particular grade you must email me within one week from the date a grade was given.
Failing to comply with this time period will null your right to contest that grade.
Studio Culture http://www.siu.edu/~arc_id/Studio%20Culture.html This studio is your home for the semester, to avoid incontinences keep studio doors locked when last to leave. This space is dedicated for your use and benefit-so behave appropriately with special attention and care towards the furniture provided to you by SOA. No cutting is allowed on desktop. Cutting tables are assigned in each studio-if you don’t have one notify your instructor. Since we all share the studio space be sure to be attentive to your colleges and keep your surrounding clean. A $10.00 dollar deposit [cash only] is required to receive a key to the studio.
Collaboration and the Honor Code <http://www.siuc.edu/~policies/policies/conduct.html> http://www.siuc.edu/~policies/policies/conduct.html <http://www.siuc.edu/~policies/policies/conduct.html>
The format of the course requires extensive collaboration with your classmates. The studio environment is the perfect setting for learning computer design skills – the “cross-fertilization” and intensity of studio will help each of you to learn from your peers and become experts in your area of interest yourselves. However when applicable, it is imperative that you complete all assignments on your own. If you receive assistance that you feel is above and beyond the call of duty, you must give that person credit in your submissions written description. aDopt the Sooner than Later approach—asking the right questions is EXTREMELY IMPORTANT especially if you are unclear about the intentions or expectations behind any given assignment.
Required Material Supplies 1 flash drive 2g or higher; 5 Blank CD-R , 3 Blank DVD-R
The flash drive will be used primarily for back-up and day-to-day data storage purposes. The CD-RWs will be used for graded submissions and long-term storage of your final projects. You are responsible for backing-up your own files-on. This should be done as often as possible. Always keep redundant copies on multiple disks and/or on your home directory accounts. Your name, studio, telephone number and e-mail address should be clearly labeled on all storage material.
1 NXT <http://mindstorms.lego.com/eng/Paris_Destination/default.aspx> set for the whole studio ; 1-3 Wii remote <http://www.ted.com/index.php/talks/johnny_lee_demos_wii_remote_hacks.html> ; Soldering station; other electronics kits <http://www.kidwind.org/xcart/home.php> and parts; Applied Sensors Parts and Text v2.0 <http://www.parallax.com/tabid/182/List/0/CategoryID/67/Level/a/SortField/0/Default.aspx> ; Board of Education (USB) - Full Kit <http://www.parallax.com/tabid/182/List/0/CategoryID/67/Level/a/SortField/0/Default.aspx>
Reading http://www.tigoe.net/pcomp/index.shtml; http://www.tigoe.net/pcomp/blog/archives/class_notes/intro_phys_comp/index.shtml
http://www.parallax.com/Default.aspx?tabid=362; http://www.arduino.cc/;http://www.kidwind.org/xcart/product.php?productid=24&cat=71&page=1 <http://www.kidwind.org/xcart/product.php?productid=24&cat=71&page=1> ; and Selected ARTICLES in electronic format
Books Architectural Geometry <http://www.architecturalgeometry.at/> - 1 copy in studio Selected books on RESERVE;
http://www.tigoe.net/blog/category/category/books/; Erwin Hauer: Continua-Architectural Screen and Walls
Movies Minority Report, Renaissance, Blade Runner Software Rhino, Grasshopper, Corel draw, PROCESSING, visual THESAURUS 3 months subscription
Recommended Books Ed. ACTAR, Metapolis Dictionary of Advanced Architecture; city, technology and society in the information age.
Emergence: The Connected Lives of Ants, Brains, Cities, and Software by Steven Johnson <http://www.amazon.com/exec/obidos/search-handle-url/index=books&field-author-exact=Steven%20Johnson&rank=-relevance%2C%2Bavailability%2C-daterank/002-3845370-6155230>
Digital ground; <http://mitpress.mit.edu/catalog/item/default.asp?tid=10083&ttype=2> Being digital <http://www.wired.com/wired/archive/3.02/negroponte.html>
IN THE INTERSECTION OF:
emerges a new hybrid, Eco culture — a complex form of existence with an inherit logic that befits our own digital_ being[1] <#_ftn1> .
eco __
The Eco_ logic studio will place an emphasis on design process (synthesis) and presentation (communication) of PREDEFINED architectural problems.
As such the studio work will be structured as a series of exercises/ projects, to rethink how current technologies {tools}
such as parametric modeling, physical computing and computer aided manufacturing, c
hallenge the way in which we conceive and design our built environment.
Thereby craft, as manifested through material selection, fabrication method and assembly logic,
will bare an enormous importance on our discussion.
As you can see this ‘phenomenon’ is multi- layered and hyper-faceted,
and requires one to engage in defining certain key terminology to better comprehend the magnitude of our operation.
Digital Logic 01011110 Digital logic is at the core of all digital computers, and yet it is entirely based on three fundamental operations, designated AND, OR, and NOT. Digital or binary logic has fascinated many people over the years how can a two-valued number system be the basis for the most powerful and sophisticated computers, seem astounding however the how and the why of this require some explanation. Everything in the digital world is based on the binary number system. Numerically, this involves only two symbols: 0 and 1. Logically, we can use these symbols or we can equate them with others according to the needs of the moment. Thus, when dealing with digital logic, we can specify that: 0 = false = no; 1 = true = yes.[2] <#_ftn2>
Digital Craft Craft, in general, represents an affinity between the maker and its immediate context, the environment. As such, beyond its traditional description or meaning, craftsmanship may be reinterpreted as a set of instructions combining knowledge and application, matter and tools—an operational framework for processing and re-organizing material constructs. Thus digital craft can potentially serve as a guiding instruction-set, a formalism, which merges knowledge based application with an instrumentality of material organization.[3] <#_ftn3>
Digital Culture A present condition, in which a society is increasingly dominated by digital communication and media. For us this has tremendous implication towards the design studio environment and the way in which we use such tools in the design process.
Digital Tools utilizing specific software and hardware, this course material will engage in broader questions related to technology, culture, and design.
Out PUT Digital prints, website or digital movies and 3d models using RP technology. In your exploration process make use of all tools known or acquired; still photography, digital video, illustrator, Photoshop, premiere or final cut, various 3D modeling/animation software, to create an expanding cartographic encounters that describe your idea process and synthesis.
Studio Format The design process is discussed in the studio environment and ought to be reflected through each student’s personal design pursue in the final design presentation. During studio time a combination of desk critiques, pin-ups, discussions and lectures, engage instructor and students in a constant design dialogue that allows independent and chronological increments of hands-on work and conceptual design development to flourish. Here, all design work including that of piers becomes design analysis and a method of design investigation that stimulates further design studies and independent design development.
[1] desk critiques are conversations, typically evolving around a student’s work to address independent design issues about a singular project or group of project.
[2] pin-ups are informal presentations were individual design proposals are openly presented to both classmates and instructor for critical feed back; to observe and compare your work across the classroom, to gain insightful understanding from studio interaction, and to advance your own design proposal
[3] all discussions demand that students prepare intellectually, and visually to advance the discourse of the required readings assignment and to diligently engage in a dialogue about such topics. Personal research and their relationship to your assignment or design goals are highly recommended.
[4] lectures in studio differ from traditional classroom dictation and avidly focus on question / answer much like forums that address design ideas. They will focus on studio assignments, research, readings, presentation techniques and more, and are meant to be provocative introductions to a complex host of issues.
[5] the studio blog will serve us as a platform to exchange and communicate ideas related to the studio theme.
Assignments
- Projects- our semester will be structured around two themes within the architectural discipline, technology and culture. Because each assignment is unique, they will be given as individual hand outs in due time. You will be expected to develop a body of work using digital tools such as AutoCAD, 3dMax, Maya, Rhino and other modeling software as well as Flash, Corel Draw, Dreamweaver, Photoshop and Illustrator. These parametric tools will aid you to express, develop and refine your ideas and from which you will carefully craft a set of 2d/3d representation [drawings] and fabricate operative [models]
- Writing – the studio is asked to maintain one class blog and each studio members will write one entry per week. The entry shall contain an edited text of no more then500 -words and additional materials. More on this will be discussed in studio.
I am presently planning, for us, a trip to LA. More details will be discussed in studio Unity workshop – not confirmed yet. ARCHITECTURE PROGRAM from the SIUC Undergraduate Catalog
The most basic human response to the earth’s environment has been the development of methods, which increase the probability of survival. The most obvious of these was the creation of shelters by which the impact of climate and the changing seasons could be controlled. From this simple reaction, architecture has evolved which reflects and promotes the cultural, economic and philosophical trends of our societies
Week-1 1/12 brief# 1 begins 1/14 In studio/Pinup 1/16 Blog begin
Week-2 1/19 grasshopper 1/21 grasshopper 1/23 brief# 1 ends/ Blog entry
Week-3 1/26 Tentative Field trip 1/28 Tentative Field trip 1/30 Tentative Field trip
Week-4 2/2 brief #2 begins 2/4 In studio 2/6 Blog entry
Week-5 2/9 In studio 2/11 In studio 2/13 Blog entry
Week-6 2/16 In studio 2/18 In studio 2/20 Blog entry
Week-7 2/23 Final Review #2 2/25 brief #3 begins 2/27 In studio; Blog entry
Week-8 3/2 In studio 3/4 In studio 3/6 review
3/9 Spring Vacation 3/11 Spring Vacation 3/13 Spring Vacation
Week-9 3/16 In studio 3/18 In studio 3/20 Pinup; Blog entry
Week-10 3/23 In studio 3/25 In studio 3/27 In studio
Week-11 3/30 Model/drawing 4/1 Model/drawing 4/3 Pinup; Blog entry
Week-12 4/6 mid review Model/drawing 4/8 Model/drawing 4/10 Pinup; Blog entry
Week-13 4/13 pin-up Model/drawing 4/15 In studio Model/drawing 4/17 Pinup; Blog entry
Week-14 4/20 Production week 4/22 Production week 4/24 Production week; Blog entry
Week-15 4/27 Publication is due 4/29 Final Review 5/1 Final Review
Week-16 5/4 Exam week 5/6 Exam week 5/8 Exam week
References
http://www.npr.org/templates/topics/topic.php?topicId=1049
http://www.growingupdigital.com/
[1] <#_ftnref1> http://www.wired.com/wired/archive/3.02/negroponte.html
[2] <#_ftnref2> http://www.play-hookey.com/
[3] <#_ftnref3> http://ambient.media.mit.edu/transitive/ubicomp07papers/oxman.pdf <http://ambient.media.mit.edu/transitive/ubicomp07papers/oxman.pdf>
--
Shai [Yeshayahu] Assistant Professor
Director, d_f_ab l_ab
School of Architecture, Southern Illinois University.
Carbondale, IL 62901-4337
V:618.453.1112 F:618.453.1129
Post test from email
--
Shai [Yeshayahu] Assistant Professor
Director, d_f_ab l_ab
School of Architecture, Southern Illinois University.
Carbondale, IL 62901-4337
V:618.453.1112 F:618.453.1129
Shai [Yeshayahu] Assistant Professor
Director, d_f_ab l_ab
School of Architecture, Southern Illinois University.
Carbondale, IL 62901-4337
V:618.453.1112 F:618.453.1129
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Wednesday, February 4, 2009
PRESENTATION REQUIREMENTS_Brief 1
Brief 1: ‘What About’ Parametric Modeling [GH] | Fabrication [Unfold_ Rib] 101
• One board Size_24x36 or 36x48 _ full color [orientation optional]
LINE DRAWINGS
• One plan & One section cut @ critical location [more Plan/section optional]
• Descriptive sequence of process that reveal the transformation of your geometry [5-12 images]
RENDERINGS
• Top View; Side view; Section; and Perspective of the final object /structure_ [isocurves shown]
• Tiling Effect Simulation for the object in relation to human scale.
ANIMATION
• Frame by frame transformation of your component
or a real time simulation of the result from the tiling effect simulation [max 15 frames]
SUPPORTIVE
• Unfolded object & Rib fabrication files.
• Grasshopper built ‘prt screen’.
TEXT
• Your name here | ARC 352 |SP 2009 | Brief1 [‘What about’]
• Complexity Narrative [maintain original template]
• Script _ [use citation where needed; this is not applicable to all]
• One board Size_24x36 or 36x48 _ full color [orientation optional]
LINE DRAWINGS
• One plan & One section cut @ critical location [more Plan/section optional]
• Descriptive sequence of process that reveal the transformation of your geometry [5-12 images]
RENDERINGS
• Top View; Side view; Section; and Perspective of the final object /structure_ [isocurves shown]
• Tiling Effect Simulation for the object in relation to human scale.
ANIMATION
• Frame by frame transformation of your component
or a real time simulation of the result from the tiling effect simulation [max 15 frames]
SUPPORTIVE
• Unfolded object & Rib fabrication files.
• Grasshopper built ‘prt screen’.
TEXT
• Your name here | ARC 352 |SP 2009 | Brief1 [‘What about’]
• Complexity Narrative [maintain original template]
• Script _ [use citation where needed; this is not applicable to all]
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