Surfaces drawn, sculpted, molded, fluid, changeable, interactive. Compromise between the architecture of built space and the composition of figures in the plane, the surface of things, the skin of artifacts, whether they use objects rather than architecture built, is now the new frontier of the project. Active filter can act as a communicative medium between what is behind it and the one who observes it, and uses it touches the surface is the fourth dimension, the borderline condition of the artifact. Tool can generate a sensory experience, tactile and functional surface dissolves into whether the objects in a limbo time where men and things come together in a global system of communication, exchanges simultaneous perception. A new state of engagement between sensory and aesthetic user, object and context that suggests the idea of a product more durable, static and immutable but fluid, dynamic, variable and adaptable to changing conditions of the physical as psychic space. Transient, changeable, immaterial, therefore, are the adjectives that best express the new size of the project whose skin turns into a sensitive nervous system characterized by entities with which they interact and nurture what defines Branzi Architectural Link, metropolis genetic match the idea of building systems and reversible passable, always incomplete and imperfect, however, are designed to contain spaces made of networks, services and relationships can be activated through impalpable "receptors" capable of transferring information to and from the outside to continuously adapt to our way of exterior and interior living space. It’s the fourth dimension of the project which opens the user as an "augmented space" within which relationships, feelings and emotions become the elements of an ideal touch-screen, to be activated through the skin of the objects. The project Aegis Hypo-Surface dECOi of Architects for the Hippodrome Theatre in Birmingham, which forms the coating titanium Draggable networked to a digital synthesizer capable of processing sounds to translate them into rhythmic movements, expresses the sense of an architecture understood as a global perceptual experience that takes advantage of his skin to reveal the depth of the unusual new artifacts, whose corporeality is physically built, it dissolves to make way for an immaterial relationship between internal and external, between object and user. A loss of physicality that expresses more than anything else the search and the rise of a new depth of things (architecture, objects, services), a dreamlike dimension that liquefies the structure based on the surface to transform it into a sensory filter can to connect, network and process encrypted messages. The Ikon Tower of the Australian study Kovac Architecture, the [A] Plug Building R & Sie for the Defense of Paris, the Embryological House by Greg Lynn and projects Uchronia and Skytracer Belgian Arne Quinze describe as admirably this threshold mutagenic of the same architecture and design , offering the world an unstable size of the project which stands out for being an instrument to co-create a higher level of human-machine interaction eliding the materiality of the body and emphasizing the imaginary component, media, intellectual and ubiquitous of the artifact post "that condenses the momentum phenomenon in connective Brand". In these projects there is tension in defining systems connect, weave patterns changing, abstract, altered to send messages larger than using the visual approach as a means of privileged access to the object. What will provide the observer is no longer just a product but a set of engineering components and tools with which to interact to define spaces, places and areas not to give body and a more stable life scenarios innovative, futuristic, from sensory interpret, connect, expand and warp in a ceaseless process of readjustment systemic semiotic, and perceptual senses. A design practice that, in essence, is orientated towards the design and manufacture of artifacts mutant whose primary target moves away from value in use to embrace new forms of aesthetic practice "for which the consumer the final recipient of the project co-operates in a system to connect to a network-hierarchy, through the personal interpretation and reporting of latent needs. And what once seemed impossible, or at least away from the design codes, is now materializing in the foreshadowing scenes Distance Manufacturing on Demand and e-manufacturing. In other words, rapid manufacturing, flexible, mutant, directly from electronic data can be shared over the network. "Nokia. Connecting People. It is the mission of the Finnish company that incorporates this seemingly simple, yet complex slogan the future of the new artifacts. Nokia connects people, connects moods, emotions and experience transfer. Small objects created to communicate by voice, mobile phones represent the new architecture, the new generation of products aimed primarily to produce sensory experiences. A concept, the latter, exasperated by the devices with Apple I-Mac, I-Pod, I-Phone, the use of the first person associated with the object placed at the center of the brand as a way of belonging to a tribe interconnected tirelessly in which we experience the fusion of feeling economy (economy of experience) and a "new" (Carmagnola), a new use-value for which the imaginary is the structural component of the product, the desirability, of its being an instrument of connectivity.
Connect. The increased space of design industry
Elia M
2011-01-01
Abstract
Surfaces drawn, sculpted, molded, fluid, changeable, interactive. Compromise between the architecture of built space and the composition of figures in the plane, the surface of things, the skin of artifacts, whether they use objects rather than architecture built, is now the new frontier of the project. Active filter can act as a communicative medium between what is behind it and the one who observes it, and uses it touches the surface is the fourth dimension, the borderline condition of the artifact. Tool can generate a sensory experience, tactile and functional surface dissolves into whether the objects in a limbo time where men and things come together in a global system of communication, exchanges simultaneous perception. A new state of engagement between sensory and aesthetic user, object and context that suggests the idea of a product more durable, static and immutable but fluid, dynamic, variable and adaptable to changing conditions of the physical as psychic space. Transient, changeable, immaterial, therefore, are the adjectives that best express the new size of the project whose skin turns into a sensitive nervous system characterized by entities with which they interact and nurture what defines Branzi Architectural Link, metropolis genetic match the idea of building systems and reversible passable, always incomplete and imperfect, however, are designed to contain spaces made of networks, services and relationships can be activated through impalpable "receptors" capable of transferring information to and from the outside to continuously adapt to our way of exterior and interior living space. It’s the fourth dimension of the project which opens the user as an "augmented space" within which relationships, feelings and emotions become the elements of an ideal touch-screen, to be activated through the skin of the objects. The project Aegis Hypo-Surface dECOi of Architects for the Hippodrome Theatre in Birmingham, which forms the coating titanium Draggable networked to a digital synthesizer capable of processing sounds to translate them into rhythmic movements, expresses the sense of an architecture understood as a global perceptual experience that takes advantage of his skin to reveal the depth of the unusual new artifacts, whose corporeality is physically built, it dissolves to make way for an immaterial relationship between internal and external, between object and user. A loss of physicality that expresses more than anything else the search and the rise of a new depth of things (architecture, objects, services), a dreamlike dimension that liquefies the structure based on the surface to transform it into a sensory filter can to connect, network and process encrypted messages. The Ikon Tower of the Australian study Kovac Architecture, the [A] Plug Building R & Sie for the Defense of Paris, the Embryological House by Greg Lynn and projects Uchronia and Skytracer Belgian Arne Quinze describe as admirably this threshold mutagenic of the same architecture and design , offering the world an unstable size of the project which stands out for being an instrument to co-create a higher level of human-machine interaction eliding the materiality of the body and emphasizing the imaginary component, media, intellectual and ubiquitous of the artifact post "that condenses the momentum phenomenon in connective Brand". In these projects there is tension in defining systems connect, weave patterns changing, abstract, altered to send messages larger than using the visual approach as a means of privileged access to the object. What will provide the observer is no longer just a product but a set of engineering components and tools with which to interact to define spaces, places and areas not to give body and a more stable life scenarios innovative, futuristic, from sensory interpret, connect, expand and warp in a ceaseless process of readjustment systemic semiotic, and perceptual senses. A design practice that, in essence, is orientated towards the design and manufacture of artifacts mutant whose primary target moves away from value in use to embrace new forms of aesthetic practice "for which the consumer the final recipient of the project co-operates in a system to connect to a network-hierarchy, through the personal interpretation and reporting of latent needs. And what once seemed impossible, or at least away from the design codes, is now materializing in the foreshadowing scenes Distance Manufacturing on Demand and e-manufacturing. In other words, rapid manufacturing, flexible, mutant, directly from electronic data can be shared over the network. "Nokia. Connecting People. It is the mission of the Finnish company that incorporates this seemingly simple, yet complex slogan the future of the new artifacts. Nokia connects people, connects moods, emotions and experience transfer. Small objects created to communicate by voice, mobile phones represent the new architecture, the new generation of products aimed primarily to produce sensory experiences. A concept, the latter, exasperated by the devices with Apple I-Mac, I-Pod, I-Phone, the use of the first person associated with the object placed at the center of the brand as a way of belonging to a tribe interconnected tirelessly in which we experience the fusion of feeling economy (economy of experience) and a "new" (Carmagnola), a new use-value for which the imaginary is the structural component of the product, the desirability, of its being an instrument of connectivity.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
