TOWARDS HANDS-ON COMPUTING IN DESIGN: AN ANALYSIS OF THE HAPTIC DIMENSION OF MODEL MAKING
Journal Name:
- Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi Dergisi
Keywords (Original Language):
Author Name | University of Author |
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Abstract (2. Language):
Model making plays a crucial part in the early stages of architectural
design. It captures spatial percepts and allows for three dimensional
thinking and evaluation, hence establishing a direct connection between
the body and the object. In the context of architectural design, model
making enables exploration of the formal and the spatial qualities of a
design through the contrasts in different aspects such as form, size, color
or material. The easily revisable nature of the conceptual models helps
architects to search for the design alternatives (Knoll and Hechinger, 2007,
19). Architectural scale models are design tools that promote thinking and
the communication between the designer and the design (Smith, 2004).
Models in the making, aside from serving the material undertaking of
a design idea, act as sketches just as two dimensional sketch drawings
do. Gürsoy (2010) has recently discussed model-making as a form of
preliminary design sketching, and the possible contribution of its inherent
ambiguities to the design process. Model sketches are objects in becoming,
subject to the designer’s spatial perception and intellect. They are
continually open to discoveries.
Within the scope of this paper, the point of interest in model sketches
is that they contribute not only to seeing but also to touching many
possibilities within a design idea. Cognitive studies show that when the
three dimensional sense of touch and the sense of vision are used together,
perception is faster than when either one is used alone. The sense of touch
alone can yield to faster perception of complex forms than the visual
one (Jones et al., 2005). Similarly the perception of visual information
is directly related to that of haptic information. There are cases where
visual perception misleads haptic perception as well as cases where visual
perception is weak due to the lack of haptic perception (Reiner, 2008).
Haptic feedback improves the quality of discernment in the early phases
of object exploration (Moll and Sallnäs, 2009) and touching the objects
provides detailed information in comparison with the macro details the
naked eye perceives (Reiner, 2008).
In other literature related to design thinking, haptic senses are often
observed to be as crucial for creative activities as vision (Prytherch
and Jerrard, 2003). Moreover, there is a direct correlation between the
development of haptic senses and the experience and practice of crafting
skills (Treadaway, 2009). Information that the hands supply to the brain
is important for not only the perception of the environment but also the
expressive skills of the designer.
In the context of digital design, haptic interaction is considered as a
beneficial aspect of the multi-modal process (Schkolne, Pruett and
Schröder, 2001). 3D sketches support conceptual phases of design by
providing spatial interaction with the design objects as well as enhancing
the perception of the scale and the orientation (Israel et al., 2009). Virtual
reality 3D sketching improves cognitive abilities in conceptual phases of
design (Rahimian and Ibrahim, 2011).
Early stages of a design process are where the designer experiments
with the initial concepts and the perceptual qualities of the envisioned
design idea. In our contemporary culture of technology, the acts of design
performed in these stages are being transferred into the digital domain
more and more as design and production processes merge and gain speed.
The visual and spatial integrity of design performances in earlier stages
has value for the entire design process and should be sustained in the
digital domain as well. The value of hands-on design thinking, or in other
words the spatial and visual thinking with materials at hand, comes forth
in pedagogical discussions that emphasize design reasoning in the field of
arts and design as early as the beginning of the 19th century. Considering
the literature above, its sustainment today is crucial for the future of design
thinking in the information age.
The present study analyzes a limited sampling of different hand
movements performed while working on a physical sketch model. Several
actions and the movements that are used while performing these actions
are identified and classified. The aim is to create an abstract repertoire of
model making hand movements for the purpose of digitizing them. This
constitutes a first step towards carrying that knowledge and experience to
digitized conceptual stages of architectural design processes.
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Abstract (Original Language):
Tasarımın erken veya kavramsal aşamalarında maketle çalışmak, nesnebeden
ilişkisini düşünmeye ve üç boyutlu değerlendirmeye olanak sağlar;
görme, dokunma ve hareketleri de içeren mekan algısını devreye sokarak
tasarım sürecini zenginleştirir. Mimari tasarımın erken aşamalarının sayısal
ortama taşınması, tasarım ve üretim süreçlerinin hızlanıp bütünleşmesiyle
giderek yaygınlaşırken, elle çalışmanın getirdiği kazanımların yeni
ortamlarda nasıl sürdürülebileceği sorusu ortaya çıkmaktadır.
Üç boyutlu algının görsel algıyı desteklerken yaratıcı düşünceyi de
tetiklediğini gösteren çalışmalar, elde maket yapmanın tasarımcıya
ve tasarıma bilişsel düzeyde katkı koyduğunu varsaymamıza kaynak
olmuştur. Çalışmamızda, bilişsel kazanımların ortamlar arasındaki
sürekliliğinin sağlanmasına yönelik bir amaç güdülmüş, maket yapımında
gözlemlenen bir dizi el hareketinin sayısal ortama tercümesi konusu
ele alınmıştır. Sınırlı bir örneklem ile çalışılarak üç boyutlu eskiz maket
yapımında gözlemlenen temel el hareketleri çözümlenmiş, bunların
sayısal ortama aktarımında kullanılabilecek soyut bir dağarcık yaratılması
ve bu dağarcığın öğelerinin işlenmesine yönelik hesaplama yöntemleri
tartışılmıştır.
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