Stop Motion Animation as a Tool for Sketching in Architecture (original) (raw)
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Using Stop Motion Animation to Sketch in Architecture: A Practical Approach
Widely acknowledged as an archetypal design activity, sketching is typically carried out using little more than pen and paper. Today's designed artifacts however, are often given qualities that are hard to capture with traditional means of sketching. While pen and paper sketching catches the character of a building, it may not equally well capture how that building changes with the seasons, how people pass through it, how the light moves in between its rooms from sunrise to dawn, and how its façade subtly decays over centuries. Yet, it is often exactly these dynamic and interactive aspects that are emphasised in contemporary design work. So is there a way for designers to be able to sketch also these dynamic processes?
SKETCHING WITH ANIMATION: USING ANIMATION TO PORTRAY FICTIONAL REALITIES AIMED AT BECOMING FACTUAL
This book offers a contribution to the theory, method and techniques involved in the use of animation as a tool for temporal design sketching. Lifted from its traditional role as a genre of entertainment and art and reframed in the design domain, animation offers support during the early phases of exploring and assessing the potential of new and emerging digital technologies. This approach is relatively new and has been touched upon by few academic contributions in the past. Thus, the aim of the text is not to promote a claim that sketching with animation is an inherently new phenomenon. Instead, the aim is to present a range of analytical arguments and experimental results that indicate the need for a systematic approach to realising the potential of animation within design sketching. This will establish the foundation for what we label animation-based sketching.
Architectural Animation becomes Alive
arch.cuhk.edu.hk
This paper sets up a paradigm for creative architectural animations, drawing cinematic, architectural and narrative theories together to form a ‘Spatial Character’. Based on this definition, students created architectural animations. These served as working platform of an entry to the FEIDAD-Competition that defined and placed architecture into a cinematic context.
Architects on Architectural Film and Animation
Proceedings of CAADRIA2012: the 17th International Conference on Computer Aided Architectural Design Research in Asia 25-28 April 2012, Chennai, India. pp. 637–646., 2012
As part of our inquiry about the practice of architectural film and animation and where it might go, this paper presents the results of interviews with architects on space, and on animation. We present their rich sense of space, and explain how they structure architectural film and animation. We found that architects wish to convey the subjective impact of design, but don't know how to connect film editing techniques to architectural ends. Computational design could fill this gap with, for example, drag-and-drop editing patterns.
Proceedings of the 24th International Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe)
Computer animation is based on software that is optimized to show transformation or change. For the animator, such change may represent the movement of people, objects or light, or a series of events comprising a short story. Studying change is also a designer's interest in objects made to transform or respond to varied environmental or phenomenal conditions. In addition, the study of change can be focused on the process of design itself, a series of steps taken in the making of a geometrical model for a building project. In this last sense of change, animation technology offers a means to retain and rework the distinct history of how one "upstream" or early design decision impacts the evolution of a design as it is refined "downstream". Moreover, when customized through a macro program, animation technology can more easily allow for early "upstream" design decisions to be revisited and modified with minimal disruption to "downstream" moves that had initially followed. That is, a designer can revise a geometrical modeling decision made at an earlier moment in a design process without having to completely redo other dependent changes to the model that had previously followed that moment. This paper reports on how animation software, rather than more typical CAD software, was harnessed to facilitate a design studio. Macro programming an animation system exploited its core technology to provide access to a more process based approach to modeling.
Computer-Generated Animation for Architecture and Urban Design
eCAADe proceedings
Computer-generated animations are going to be a powerful design medium. During the last two years, we have created more than 10 animated films by using the computer. The purpose of animation varies as the case, however it is always related to the architecture and urban design. Using these computer-generated animation films, we edited a video tape of 54 minutes. Along with the video tape, this report shows our works in four parts with pictures taken from the films.
The Contemplating Subject: Event and Subject in Architectural Animations
In the field of architectural representation, film constitutes an important resource since it expresses the lived dimensions of a space. Cinematic space makes sense only in the context of the subject’s experiencing of events. This paper contends that visualizations of architecture emphasize the object/building, striping space of the subjects of everyday’s practices. The paper discusses the nature of the subject, and the event in film theory, and architecture in order to analyze an awarded example of an architectural animation, Alex Roman’s “The Third and the Seventh.”
EMPOWERING NON-DESIGNERS THROUGH ANIMATION-BASED SKETCHING
This paper asks whether it is feasible and valuable to facilitate early stakeholder involvement in the design process by applying animation as a common temporal sketching language. We build on the notion of sketching as an efficient activity for designers to think with and communicate ideas through. Not much research has sought to involve non-designers in the sketching process and assess which sketching media might be suitable for this purpose. We present the findings and learnings from a one-day workshop of using animation- based sketching techniques with non-designers as a way to empower them in the early concept exploration phase. We then discuss whether animation could be a suitable mediator of the sketching mind-set in stakeholders with varying preconditions for participating in the early exploratory phase of design.