BUIILDING SKINS AS KINETIC PROCESS: SOME PRECEDENT FROM THE FINE ARTS

Moloney, J

BUIILDING SKINS AS KINETIC PROCESS: SOME PRECEDENT FROM THE FINE ARTS

Moloney, J

Permalink

Publication Type:: Article
Issue Date:: 2007-10-05T01:31:05Z

Open Access

Copyright Clearance Process

Recently Added
In Progress
Open Access

This item is open access.

Adobe PDF

Download Moloney_Building skins.pdfAdobe PDF (255.31 kB)

View statistics

Full metadata record

Field	Value	Language
dc.contributor.author	Moloney, J
dc.date.accessioned	2007-10-05T01:31:05Z
dc.date.accessioned	2012-12-15T02:35:14Z
dc.date.available	2007-10-05T01:31:05Z
dc.date.available	2012-12-15T02:35:14Z
dc.date.issued	2007-10-05T01:31:05Z
dc.identifier.uri	http://hdl.handle.net/10453/19705
dc.description.abstract	The aesthetics of form in motion has been a central preoccupation for the visual arts of the twentieth century, culminating in the establishment of kinetic art as a distinct area of activity in the 1950's. Architecture has traditionally resisted ‘building kinetics’, but has embraced the body in motion, usually on foot negotiating in (subtle) interaction with static form. However, one aspect in which kinetics would appear to be acceptable is at the building periphery, where intelligent facades track sun angles, or moderate air movement in response to internal temperature sensors. On another track is the proliferation of media facades in various guises that transform facades into urban information interfaces or media art works. This paper suggests that both intelligent and media facades set a different agenda for designers who have traditionally worked towards finding the best static mix of performance and elegance. Arguably, intelligent and media facades raises the question of ontology from a designer perspective - what are the design parameters when the outcome is a kinetic system, rather than the traditional static artifact? In order to approach the issue, this paper examines some precedent from kinetic art of the 1960’s and contemporary generative arts, for the insight they may provide. These sources then inform a preliminary outline of the range of parameters that may be considered by designers.	en
dc.format.extent	261436 bytes
dc.format.mimetype	application/pdf
dc.language.iso	en	en
dc.relation.replaces	http://hdl.handle.net/2100/484
dc.subject	kinetic facades	en
dc.subject	design	en
dc.subject	architecture	en
dc.title	BUIILDING SKINS AS KINETIC PROCESS: SOME PRECEDENT FROM THE FINE ARTS	en
dc.type	Article	en
utslib.copyright.status	open_access

Abstract:

The aesthetics of form in motion has been a central preoccupation for the visual arts of the twentieth century, culminating in the establishment of kinetic art as a distinct area of activity in the 1950's. Architecture has traditionally resisted ‘building kinetics’, but has embraced the body in motion, usually on foot negotiating in (subtle) interaction with static form. However, one aspect in which kinetics would appear to be acceptable is at the building periphery, where intelligent facades track sun angles, or moderate air movement in response to internal temperature sensors. On another track is the proliferation of media facades in various guises that transform facades into urban information interfaces or media art works. This paper suggests that both intelligent and media facades set a different agenda for designers who have traditionally worked towards finding the best static mix of performance and elegance. Arguably, intelligent and media facades raises the question of ontology from a designer perspective - what are the design parameters when the outcome is a kinetic system, rather than the traditional static artifact? In order to approach the issue, this paper examines some precedent from kinetic art of the 1960’s and contemporary generative arts, for the insight they may provide. These sources then inform a preliminary outline of the range of parameters that may be considered by designers.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/19705