Embodied Archetecture︎︎︎
From the text my Marina Castan Cabrero
‘ Soft Embodied Architectures’: Towards a hybrid embodied design ideation method for soft embodied architectural design
I include the glossary fromn her text of terms for this research as a way of thinking about 3 dimentional form and materials/ body.
Glossary of Terms:
Actor-network-theory (ANT): a philosophical theory developed
by Michel Callon and Bruno Latour within the field of Science and
Technology studies (STS).
Adaptability (textile material): the capacity of a fabric to adjust to surfaces and volumes.
Affordance: an object’s property of showing possibilities for action
Agency: the capacity to influence.
Auxetic: a material structure that becomes thicker when it
is stretched.
Body-material interactions / Embodied explorations: physical
explorations that combine body movement and material interaction.
Brekel: a mo-cap software that allows communication with the Kinect camera to capture an environment and objects in motion.
Digital toolset: a group of tools to work with specific software
and hardware.
Dynamic: it is the word used to name the qualities that emerge out of the interaction between the body and the textile material, e.g. thresholds of elasticity and transparency.
Elasticity: a material’s ability to elongate.
Embodiment: a way of being in the world through the body and
its senses.
Embodied: it is the knowledge that arises from the first-hand
experience and allows the participant to make sense of a lived event by means of the body.
Embodied Interaction: a research field within HCI that focuses on the relationship with artefacts to design its interaction.
Embodied design ideation (EDI) methods: a group of design methods for the early phases of a design process that involve the use of the body in different ways.
Enabler / Disabler: the ability of an object to facilitate or reject certain actions.
Foldability (textile material): the capacity of a fabric to bend upon
itself.
Formal expression: the aspect and particularities of a
thing’s form.
Form-giving process: a process to lend form to a material.
Geometry: a system that operates under the relationships of points, lines, angles and shapes in space.
Grasshopper: an application for Rhino 3D software that allows the programming of generative algorithms in a visual way.
Human agency: the capacity of humans to exert influence
or power.
Hybrid: it refers to the combination of analogue and digital processes. In the present investigation, an analogue process is a body-material interaction and a digital process is the digital capture of this bodymaterial interaction.
Interface: a medium to communicate between two or more things.
Kinect: a depth sensor camera that allows the tracking of environments and objects.
‘Layering up’: the act of overlapping layers of material.
Materiality: physical properties of artefacts and technologies that affect the way we interact with objects.
Mesh: a digital technique to define a three-dimensional form, often using polygons such as triangles or quadrilaterals.
Mesh parametrisation: a digital function that allows the definition of parameters of a surface or volume.
Mesh reconstruction: to build part of an incomplete mesh through numerical approximation.
Morphology: the process of evolution of a form.
Motion capture: the process of recording environments and objects or bodies in movement.
Near-field volumes: in a morphology, the data that operates close to its volumetric limits.
Network: as in ANT, an agent that makes visible the set of connections between humans and non-humans.
Non-human agency: the capacity of objects to exert influence
or power.
NURBS: acronym for non-uniform rational B-spline. A mathematical model to create curves and surfaces.
Pliability (textile material): the capacity of a fabric to be flexible.
Point Cloud: data set in the form of points in space
Point Cloud Decimation: a process of selecting and erasing data based on a specific percentage.
Polymesh: a mesh composed of polygons.
Procedural pipeline: a set of data instructions connected in series, creating an automatic process.
Real-time capture: a record of data processed and available as it is being recorded.
Retopology: a function to optimise the geometry of a surface.
Rhino 3D: a computer-aided design software for modelling 3D objects based on NURBS
Scattered points: a new distribution of the points of a mesh.
Script: as in ANT, refers to the programmatic instructions embedded in an object.
SideFX Houdini: an animation software that allows the creation of 3D animation and visual effects.
Shell structure: a structure that behaves far from the body.
Skin structure: a structure that behaves close to the body.
Soft: a quality that highlights an adaptive behaviour of a textile
material as opposed to the rigid behaviour showed by the textilereinforced structural composites, commonly used in architectural applications.
Soft embodied architecture: an architecture that acknowledges and makes use of the dynamic qualities that emerge out of the interaction between the body and the textile material.
Soft entity: something that exists, in the sense of ‘being’ made out of adaptive and flexible materials.
Spatial entity: a tangible thing that has spatial qualities.
Soft form vocabulary: a collection of soft formal expressions.
Spatial experience: a physical encounter with space.
Spatiality of textiles: the spatial qualities of fabrics (textile materials) such as dimension, form, proportion, scale, light and sound.
360-degree capture: a recording of view from every direction of an environment.
Triangulation: to define a distance between the vertices of a triangle.
Topology: refers to the spatial properties of a geometry.
Workflow: a systematic and repeatable process.
From the text my Marina Castan Cabrero
‘ Soft Embodied Architectures’: Towards a hybrid embodied design ideation method for soft embodied architectural design
I include the glossary fromn her text of terms for this research as a way of thinking about 3 dimentional form and materials/ body.
Glossary of Terms:
Actor-network-theory (ANT): a philosophical theory developed
by Michel Callon and Bruno Latour within the field of Science and
Technology studies (STS).
Adaptability (textile material): the capacity of a fabric to adjust to surfaces and volumes.
Affordance: an object’s property of showing possibilities for action
Agency: the capacity to influence.
Auxetic: a material structure that becomes thicker when it
is stretched.
Body-material interactions / Embodied explorations: physical
explorations that combine body movement and material interaction.
Brekel: a mo-cap software that allows communication with the Kinect camera to capture an environment and objects in motion.
Digital toolset: a group of tools to work with specific software
and hardware.
Dynamic: it is the word used to name the qualities that emerge out of the interaction between the body and the textile material, e.g. thresholds of elasticity and transparency.
Elasticity: a material’s ability to elongate.
Embodiment: a way of being in the world through the body and
its senses.
Embodied: it is the knowledge that arises from the first-hand
experience and allows the participant to make sense of a lived event by means of the body.
Embodied Interaction: a research field within HCI that focuses on the relationship with artefacts to design its interaction.
Embodied design ideation (EDI) methods: a group of design methods for the early phases of a design process that involve the use of the body in different ways.
Enabler / Disabler: the ability of an object to facilitate or reject certain actions.
Foldability (textile material): the capacity of a fabric to bend upon
itself.
Formal expression: the aspect and particularities of a
thing’s form.
Form-giving process: a process to lend form to a material.
Geometry: a system that operates under the relationships of points, lines, angles and shapes in space.
Grasshopper: an application for Rhino 3D software that allows the programming of generative algorithms in a visual way.
Human agency: the capacity of humans to exert influence
or power.
Hybrid: it refers to the combination of analogue and digital processes. In the present investigation, an analogue process is a body-material interaction and a digital process is the digital capture of this bodymaterial interaction.
Interface: a medium to communicate between two or more things.
Kinect: a depth sensor camera that allows the tracking of environments and objects.
‘Layering up’: the act of overlapping layers of material.
Materiality: physical properties of artefacts and technologies that affect the way we interact with objects.
Mesh: a digital technique to define a three-dimensional form, often using polygons such as triangles or quadrilaterals.
Mesh parametrisation: a digital function that allows the definition of parameters of a surface or volume.
Mesh reconstruction: to build part of an incomplete mesh through numerical approximation.
Morphology: the process of evolution of a form.
Motion capture: the process of recording environments and objects or bodies in movement.
Near-field volumes: in a morphology, the data that operates close to its volumetric limits.
Network: as in ANT, an agent that makes visible the set of connections between humans and non-humans.
Non-human agency: the capacity of objects to exert influence
or power.
NURBS: acronym for non-uniform rational B-spline. A mathematical model to create curves and surfaces.
Pliability (textile material): the capacity of a fabric to be flexible.
Point Cloud: data set in the form of points in space
Point Cloud Decimation: a process of selecting and erasing data based on a specific percentage.
Polymesh: a mesh composed of polygons.
Procedural pipeline: a set of data instructions connected in series, creating an automatic process.
Real-time capture: a record of data processed and available as it is being recorded.
Retopology: a function to optimise the geometry of a surface.
Rhino 3D: a computer-aided design software for modelling 3D objects based on NURBS
Scattered points: a new distribution of the points of a mesh.
Script: as in ANT, refers to the programmatic instructions embedded in an object.
SideFX Houdini: an animation software that allows the creation of 3D animation and visual effects.
Shell structure: a structure that behaves far from the body.
Skin structure: a structure that behaves close to the body.
Soft: a quality that highlights an adaptive behaviour of a textile
material as opposed to the rigid behaviour showed by the textilereinforced structural composites, commonly used in architectural applications.
Soft embodied architecture: an architecture that acknowledges and makes use of the dynamic qualities that emerge out of the interaction between the body and the textile material.
Soft entity: something that exists, in the sense of ‘being’ made out of adaptive and flexible materials.
Spatial entity: a tangible thing that has spatial qualities.
Soft form vocabulary: a collection of soft formal expressions.
Spatial experience: a physical encounter with space.
Spatiality of textiles: the spatial qualities of fabrics (textile materials) such as dimension, form, proportion, scale, light and sound.
360-degree capture: a recording of view from every direction of an environment.
Triangulation: to define a distance between the vertices of a triangle.
Topology: refers to the spatial properties of a geometry.
Workflow: a systematic and repeatable process.
From: ︎︎︎
Marina Castán Cabrero
Marina Castán Cabrero
Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.
We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.
Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
