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FUTURE MOBILITY WORKSHOP
THE ART OF MOBILITY
SPD Scuola Politecnica Di Design Milan
Car and Transportation Design Program
26 April 2017 - 5 May 2017
Copyright © all rights reserved by Engin Tulay. Unauthorized use is a violation of applicable laws.
SHORT DESIGN ASSESMENT
The workshop aims to create an innovative vision and demonstrate its commitment to shape the future of mobility in urban context considering the concept of driving based on the journey rather than the destination. Projects will be prospectively questioning what are the technological and socio-cultural progresses and how these will affect the evolution of the car and its intended use to provide an immersive travel experience. On the other hand, during the studies, proposing design as a method of enquiry and focusing on future transportation systems and programs in regards with new mobile sub-culture will be discussed. One of the primary purposes of this workshop is to reflect the multiple aspects of mobility as well as its symbolic and aeshetic content and open the way towards a transdisciplinary studies that increasingly claim its place in the social and cultural dynamics of the contemporary world.
The workshop also investigates how the biotic relations between man and machine and transformation of user interactions will allow people to reflect their senses, feelings and patterns to create more human-like context with the vehicles in the future. Parallel to the future studies, projects will be focusing on the analysis of the contemporary transportation networks as habitats, artificial infrastructures and organism and embracing the interrelations and qualities of vehicles concerning the interactions with inhabitants. The process will be exploring a collaborative expression and synergistic scope together with emotional experiences and sensorial comprehensions topropose a deep reflection on new forms of future mobility considering the problematics in rather complex ways in terms of transportation and global issues.
The Art of Mobility is a sub-topic that aims to create a space for the students to generate their ideas about mobility and movement relates to future mobility. Therefore, the preparatory models that students will ask to create intend to feature a right blend of agile and dynamic volumes and capture the essence of the nature; furthermore, during the workshop students will dissolve their artistry into one another at close range while exploring abstract landscapes and forms to excite.
Students will be responsible for documenting and presenting the design process in the final proposal and facilitate different communication tools and methods where necessary.
THE ART OF MOBILITY
Mobility begins at the relationship between art, culture and movement and to reflect on mobility today means to widen the perspective, go beyond the concepts of travel, discovery and displacement; it calls for an analysis of the social, political, economic and cultural phenomena. The practice of mobility can be thought of as a phenomenological experience where identity comes into contact with alterity, as a path of transformation where ideas, perceptions and preconceptions are questioned.
Form Beyond Function
The workshop aims to generate the futuristic image of movement that prospectively embodies the intention of vary mobility forms in an artistic manner. The Art of Mobility is an abstract topic which creates a space for the students to generate their ideas about mobility, movement, motion relates to future transportation design. Realizing that the daily life is spontaneously filled with mobility norms and patterns will help students to understand the motion behind the consciousness, information, society and time as well. Meanwhile, the primary purpose of this workshop is to reflect on the multiple aspects of symbolic and artistic content of mobility and open the way towards a transdisciplinary studies that increasingly claim its place in the social and cultural dynamics of the contemporary world.
The workshop will challenge students to detect new ways to imagine a future beyond boundaries and aim to enhance their creativity in search of alternative mobility norms for humanity. Through the workshop, projects will try to allow students the freedom to generate and reinterpret their ideas by evolving abstract sculptures as scaled models in order to better express their design philosophy. Beside the artistry, sculptures must have strong yet flexible structure that enables investigation of almost any location, while resembling common cultural codes and visual symbols of motion with a seamless design experience and sense of unity.
TransFORM & TransCAR
Life On The Move
Concepts should be based around the idea of creating new ways of transportation that mould to the driver’s mood in every respect allowing human and vehicle to become one. During the studies, forward thinking will help to push the boundaries in anticipating both practical and emotional needs of future mobility.
In the workshop, students should also identify the city of tomorrow and use their imagination to develop a vision of future mobility; yet finally, they will create a physical, aesthetic representation of future vehicles. Those sculptures aim to represent the values of volume and norms of proportion and translate those ideas to an immersive artistic expression; the form is the constitutive element of every drawing and shapes the core element of any design for art, architecture, industrial design or design in general. This workshop is a stimulating of the manifold aspects of form creating different examples by having the inspiration from the content of mobility resulting in a monumental sculptures based on the future of transportation. The concepts must explore depth of the surfaces and assume the architectural function for internal and external structures. The virtual aspect of concepts will aim to change a paradigm that car designers must consider to be the most important: The highlights are no longer the carrier of the design.
DRAW + SCULPT
Essential Forms To Capture The Moment & Movement
Modern car sculpting contains the fundamental principles of form, structure, volume, proportion, scale and texture. As a car design artistry, the sculptures must demonstrate life-like connections to its surroundings along with the flowing skin-like surfaces of speedforms to symbolise the refined image of the future vehicle design patterns. During the workshop, this will be characterised by dramatic proportions, attractive fine lines and softly appering but sharply contoured surfaces since viewing a sculpture can conjure many emotions such as an abstract substance of a body or a spirit from a car is being created. As the new form of future transportation, flowing random elements and continuously changing shapes will emerges the dynamic norms of speed and aerodynamics while making the imagination visible into a form and expressing the motion onto a work of art as a clear appereance of the future mobility definitions. During the workshop, an aesthetic transformation and artistic imagination of the participants will execute shapes and forms that naturally take the form of a vehicle as sensuous structures and emotional contours coupled with respect to man and nature since a sculpture itself enhance the art of nature.
The sculptures that students will ask to create intend to feature a right blend of agile and dynamic volumes and aim at capturing the essence of nature and imagining how the transportation design could look like in the future considering the human factor. For the projects, the main inspirations will be taken as motion, future life patterns, speed image, conceptual transportation, modern architecture and nature. With the process of ideation and form development resulting in an aesthetic sculpture shaped by dynamism and fluidity, this workshop intends to propose a concept that can act as a mobility solution, an immersive and interactive experiences of travelas well as a form of ''living'' in the future. During the process, student's creations should be crafted in accordance to functional as well as aesthetic criteria, incorporating technological innovation, quality of execution, clarity of structure, environmental concerns and simplicity.
With sculpturing in any material, the workshop aims to provide an insight into the understanding and perceptions of a design idea initially takes shape on a blank paper; in its purest form to create sensuousness with an intense attention to details.Designing and modelling has a an importance within creativity and intention behind sculpturing, so as to the form of a vehicle. Therefore, the basic proportions of the work models will challenge the observer to interpret the shape of the future mobility in any sense with their intense design process. The sculptures will reflect nature inspired vehicle design in artistic technique and not be considered as just a physical form, but a spirit which portrayed dynamic and refined inner strength in its context. During the process, the performance between advanced hi-tech materials and raw natural materials will also envision future application of transitions between progression and nature while the design must be realistic in its approach yet remained stimulating, attractive and futuristic at the same time.
Creating a sculpture which is sensuous and extraordinarily dynamic will indicate to transport car design into a new, artistic statement. Since car design is artistic from the beginning, aesthetically and sensuously oriented works will portray a volume taking form inspired by flowing spirit of nature. The artwork will be referring to the evolution of the future vehicles yet combining design elements of a car by means of soaring shape transitions that clearly contoured to lend the sculptures an organic appearance by a natural process. During the workshop, students will be translating artistic inspiration into the modern samples of car design which combine dramatic proportions with harmony, style and innovation.
During the workshop various innovative experiments will be in progress. The students will produce state-of-the-art units to explore future mobility forms, norms, and concepts while making ''life on the move'' more fascinating for human beings. As the car evolves to be more than a form of transport, students are expected to generate ideas that explore the car beyond the metal sculptures and thedefaultpackages tooffer an innovative process for new dialogues, multiple narratives and speculative thinking for the future mobility concepts.
The abstract forms must relate to the future of mobility through their sculptural volumes, use of advance technological materials and visual lightness as being pivotal to the overall design philosophy. During the studies, it will be investigated how the form could accentuate a light and dynamic volume through its use of symbolic and aesthetic context as well as how motion and form could react with one another to amplify the senses and reflect a seamless transition between the vehicle and its environment.
ANTROPOMORPHISM AND MECHANOMORPHISM
The Two Faces Of The Human
This workshop also explores the ambiguity of the “human machine”. Mechanomorphism, the attribution of machine characteristics to humans, is a culturally derived metaphor that presently dominates cognitive sciences. The relationships between anthropomorphism and mechanomorphism can pose a particular case for future car designer and inquire “Can machines feel?”
We see colours, hear sounds and feel textures through a particular sense while driving; furthermore, this workshop is to draw out the sense of driving within the unseen and unknown interactions between man and machine. The abstract nature and the experimental diagnostic of this workshop intend to reflect future configurations and patterns to create a better connection between man and machine to attach people more to the car both physically and psychologically. Cars consist an interface of interaction between man and environment; in that respect, studies aims to generate new impacts and dynamics in car design.
The BODY, The MONSTER, The MACHINE
Fırat Akova. Poedat Conference 2015, Istanbul, Turkey
''The endeavor to define the ontological limit of human body constituted the intersection of philosophical, biological and theological initiatives as a captivating venture for quest. Aside from innocent epistemological discussions, differentiating between body and out-of-body (along with immanence which strives to explain the human with insulating patterns) has become a detrimental habit, a metaphysicalist tradition and even an oppressive ideology. While immanence completes the impetus to place the body under the hegemony of a causal, rational and figural order, it acquires its fame for ignoring the explicit, relational and transformative qualities with the limit it tries to create for the body. Immanence has been regenerated throughout history by means of discourse, politics and aesthetics through two concepts, “monster” and “machine”, despite the reality that the limit of the body can be expanded to the limit of Being. In other words, the reality where the body annihilates the crude borders continuously drawn to itself with its zoneness which interacts, exchanges and evolves.
Monster appears before us as an unusual, formidable and distorted concept. Morphological errors only occur in the monster; therefore, what monster is, the human is not: the limit placed on the body thrive and develop via the image of monster. When the scientific judgment is subjected to a Foucauldian analysis as a result of defining the monster more penetratingly with the help of cells, animals and objects, it can be said that an investigation had been initiated even for the monster in its own lane and the science developed the concept of “normalization” (which was applied to the body with imminance in the first place) in the wake of teratology along with modernism. The desire for order and its physiological and sociological reflections as a rationale for the limit placed on the human body is the reverse of imagination which Francisco Goya links with “the sleep of reason”. Imagination releases the monsters, it takes them into liberated zones; in this respect, stories of gods and goddesses in Asia and hybrid creatures in Africa have been involved with the monster in an intergenerational and dizzy flirtation.
Like the monster, the machine is abruptly classified as separate from the body and is used as a metaphor to diminish the bodiliness of the body. When the body is thought to be theological, in other words, when the status of being a vehicle for something is simulated with the body, it is argued that the body is a type of a machine; the limit drawn for the body cannot be expanded towards the limit of Being, just the opposite: the body is retracted to the relatively narrow limit of the machine and held there. According to Georges Canguilhem who gives Giorgio Baglivi’s De Praxi Medica as an example, likening body parts such as stomach, veins and muscles to tools like retort/heat chamber, hydraulic tube, and cables and cord expresses that the body, in the context of serving a goal, is transformed into a device for satisfaction for the ideologies that exalt technique. As a matter of fact, it is not a coincidence that Aristotle addressed the bodies of the slaves as “animated machine” and that René Descartes laid the foundation of mechanical philosophy at the beginning of capitalism. Similarly, Andy Clark and David Chalmers who professed that there is no difference between consulting a notebook and consulting the consciousness in order to access knowledge point to a seminal trend that reevaluates the machine with the terminology of body as opposed to the classical approach that mechanize the body.
The fact that all elements, processes and impact of the body can be found in the whole of Being creates an extraordinary sense of adventure and have us experience a cosmological exaltation: the body is the cause and result, subject and object, the beginning and the end of a finiteness whose limits we have not been able to determine. Therefore, the body is more than an input-output space which has been defined as out-of-body due to an illusion; it is, as a temporality and spatiality fluctuation, a structure which can consciously or unconsciously penetrate into the universal cluster called “Being” which engulfs all things. The natural outcome of the relationship between the body and Being is that the body is not equivalent to Being but the limit of Being is at the same the limit of the body. ''
For having an experimental methodology for the workshop, issues will be discussed in analytic, critical and speculative manners; therefore the final project might also deal with utopic, dystopic or heterotopic design conjunctures or scenarios. For the final project, it is aimed to manifest a TransCAR which borrows different qualities from various type of mobile and immobile living structures formed by architecture and car design.
Starting with brainstorming, this concept will acquaintance with different methodological steps described below gained through a series of experiments in the areas of (such as) architecture, urban design, art, sociology, psychology, spiritual sciences, material engineering and case studies to gather new information and evolve the experiences.
Mind Map: A diagram used to represent a number of ideas or things. Using images, symbols or words for nodes, selecting keywords, analyzing information and relations.
Storyboard: A form of scripting which communicates each steps of activities, experiences or interactions. Creating the story and the characters.
Moodboard: A collage of images and words which include samples of forms, colours and textures to convey the complex emotional communication of intended design.
Problem Tree: A tool for clarifying the problems addressed by a design project. A structured hierarchy of problems with higher-level problems.
Literature Review: A detailed review of books, articles, dissertations, conferences relevant to a particular subject. Analyzing and synthesizing the information.
Banned: Creating future scenarios based on imagining a world without the intended project. Creating storyboards and summarizing insights.
Collage: Involves abstract images or words onto cardboard that may include
objects, materials, structures and interactions. Collecting and analyzing the stories.
Concept Sketch: A fast freehand drawing. Individual designers generate sketches and each designer presents their ideas to the group.
Cognitive Map: A mental map of an environment which people remember and recall a physical or virtual space and spatial experiences.
Design Charette (Group): A collaborative daily design workshop held over several hours. Generating ideas while involving diverse stakeholders in decision process.
1-on-1 Interviews: An interview between a researcher and a user in a face-to-face situation. Talk, watch, listen, observe; documenting with video, audio and notes.
Field Study (Group): A study in the context of people rather than a studio or a laboratory. Performiming observations, interviews and developing insights.
Day in the Life (Group): Observing the users in the context of their usual activities. Recording events to understand the activities from the user’s view.
Paper Prototyping: A quick way of gaining insight which simulates the function but not the aesthetics of a proposed design. Underlying the content, form and structure.
Scaled Prototype: Building a prototype that looks like and may work like the finished product. Testing the product and evaluating the results.
User Experience (Group work): Documenting and visualizing the experiences that users have and their responses to their experiences.
For the the final project, submitting a separate folder to illustrate how the project has developed and took its final stage, presenting how the ideas and concepts transformed and embedded into final project and manifesting how the final project is dealing with the given context concerning inconsistencies and discrepancies will be required. Furthermore, a log book including notes, sketches, visuals and references together with a final prototype (scaled) will be presented.
1. Introduction the structures of vehicle design by using a multidisciplinary approach such as architecture, urban design, material engineering, ergonomics, product design and performance with environmental sustainability and social awareness; also paying attention to technological and production constraints.
2. Embracing the design development process into new experiential concepts, redefining architectural structures of vehicles and moving forward with new criteria for efficiency and future responsibilities.
3. Parallel to the theoretical and conceptual training, studio projects are organized into design concepts and their refinement up to digital modeling.
4. Exploring the micro-macro mobility systems responding to the new city typologies by bringing today’s transportation and vehicle design paradigm into the question to interpret environmental issues, global economic manners and the new social structures.
5. Observing new progressive transportation concepts that serve to challenge of the future mobility scenarios where cars are no longer the must-have actors.
6. Raising awareness and sensitivity towards the context and expanding the abilities to choose appropriate design research methods to utilize for a considered abstract.
1. Awareness of transferring a research and analysis methodology that can be applied to various projects following the based activities in vehicle and transportation design.
2. Acquaintance with the different steps required during the process such as hypothetical discussions, debrief and project conceptualization gained through case studies of future mobility scenarios, design evolutions, analysis focused on social structures, art, architectural inspirations in the widest sense.
3. Reflecting the knowledge of transportation design history and its evolutions complementary to theoretical and design practice by focusing on design methodologies, vehicle architecture, technological developments that resulting from the broader evolutions of the mobility systems and particularly in car culture.
4. Helping the students to think freely, beyond the constraints and transfer the idea of a result-driven process into a conceptual project where time management and a continuous progression are the keys.
5. Practicing structuring the project and choosing and applying a variety of presentation techniques; which may include collages, diagrams, storyboards, prototypes, simulations, video, photography and so on.
6. Flexibility to question any given or existed typology and incorporate the outcome into the research process not just for the final project.
Being responsible for throughly documenting and presenting the design process in the final proposal, therefore to facilitate different design, documentation and communication tools and methods such as drafting, sketching, digital modeling, modeling, prototyping, video, sound, mapping and many others where necessary.
Submitting a separate folder to illustrate how the project has developed and took its final stage during the process.
Through different tools of presentation, it is also needed to be able to explain and discuss the project in terms of various aspects and issues such as technical, aesthetical, functional and social in details.
Presenting how the ideas and concepts transformed, materialised and superpositioned during the process and embedded into final project.
The overall state of the research project that does not solely include the material qualities of the final project such as drawings, mock-up, working model or prototype but also how thorough the final project is deal with the mentioned context in terms of inconsistencies and discrepancies.
Log book including drafts, research, notes, critics, visuals and references. A4 or larger sketchbook
Final prototype or working model that might be scaled.
Illustration of the proposed transportation system, network, paradigm that structures the project adapted and positioned in.
Detailed information on materials used, source of energy and manufacturing process where necessary.
EVALUATION OF THE PROJECTS
User factor analysis, comfort, human senses concerning emotional connection, ecological sensitivity, creativity and originality, reflection of future technologies, relevance to the given brief, design value and quality, controls and functions, developmental potential, presentation and explanations.
Copyright © all rights reserved by Engin Tulay. Unauthorized use is a violation of applicable laws.