ENGIN TULAY
CAR DESIGN
ARCHITECTURE
LECTURE
WORKSHOP

COPYRIGHT © Unauthorized use is a violation of applicable laws.

FUTURE MOBILITY WORKSHOP

THE ART OF MOBILITY

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.

ASSESMENT

The workshop aims to create an innovative interdisciplinary vision and demonstrate its commitment to shape the future of mobility in urban context of 2050 by considering the concept of driving based on the journey, not the destination. Projects will be prospectively questioning what are the technological and socio-cultural progresses and how these will affect to evolution of the car and shaping its intended use yet providing an immersive travel experience. During the studies, developing an innovative approach to vehicle design research, proposing design as a method of enquiry and focusing on transportation service systems and programs in regards to new and completely mobile&digital generational sub-culture will be discussed.

The workshop also aims to investigate how the biotic relation between human and machine and the transformation human-to-machine interfaces will allow people to reflect their senses, feelings and patterns and create a more humanlike relationship with the vehicles. Parallel to the applied studies, projects will be focus on the analysis of the contemporary transportation systems and intending to consider those networks as habitat, artificial infrastructure and organism and embracing the movements, interrelations and qualities of vehicles in regards to interactions with the inhabitants. The process will be exploring a collaborative expression, brainstorming, synergistic scope, an emotional experience, a sensorial comprehension and proposing a deep reflection on new forms of future mobility and considering the problematics in rather complex and systematic way in terms of transportation, environmental, urban development and global issues.

Students will be 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 sketching, drafting, rendering, modeling, model making, prototyping, video, writing, diagramming, mapping and many others where necessary.

ABSTRACT

The next decade represents a pivotal time for the car industry with new technologies and sustainability concerns likely to exert a significant influence on future mobility forms. On today's evidence, the concept of mobility has entered to the agenda of numerous international institutions and organizations in certain global research projects; above all, in its implications towards the cultural, artistic and social domains. Artistic practices and creativity are directly and closely linked to mobility; a great part of the art and architecture have existed for the urge to travel, to discover and to go beyond the limits. 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. As a value and conscious process of knowledge, mobility does not refer to a simple trip or displacement.

Mobility presents multiple facets: it is directly related to the issue of diversity, exchange, experience and intercultural dialogue. Therefore, one of the main objective of this workshop is to reflect a concept of mobility in the processes of transformation of knowledge and culture; above all, think about mobility today in a contemporary context. Mobility begins at the relationship between art, culture and movement.

AUTOPIA
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

In the past, the concept of mobility is decidedly different from what we see today, however the need and desire to innovate through design still remains the same. Future-watching is important to designers of tomorrow with observing life needs, mobility patterns and technologies to become a part of this change. Therefore, this workshop aspire to culminate in thought-provoking presentation while considering all these future impacts together and what people will need and expect from their vehicle both emotionally and functionally. 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 travel as 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.

ART LAB
The Making

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 the default packages to offer 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 on car design in a future sense.

The BODY, The MONSTER, The MACHINE

Fırat Akova. Poedat Conference 2015, Istanbul, Turkey

Poedat Collective

Poedat Magazine

''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. ''

Click here to read the PROGRAM of the workshop

REQUIREMENTS OF THE WORKSHOP

Criteria
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 sketching, drafting, rendering, modeling, model making, prototyping, video, writing, diagramming, mapping and many others where necessary.

Statement
Submitting a separate folder to illustrate how the project has developed and took its final stage during the process.

Presentation
Through different tools of presentation, it is also needed to be able to explain and discuss the project in terms of various aspects & issues such as technical, aesthetical, functional, social in details.

Conceptualisation
Presenting how the ideas and concepts transformed & materialised & superpositioned during the process and embedded into final project.

Finishing
As the overall state of the research, this does not solely include the material qualities of the final project such as 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.

Submissions
Log book including research, notes of critics, visuals, references and so on. 

A4 or larger sketchbook

Final prototype, or at least partly 1/1 and a working prototype that might be scaled.

User scenarios.

Illustration of the proposed transportation system & network & paradigm & structure the project adapted & positioned in. 

Detailed information on materials used, source of energy, assembly, manufacturing process and so on.

METHODOLOGY OF THE WORKSHOP

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 vehicle which borrows different qualities from various type of mobile and immobile living structures formed by car design and architecture. Starting with brainstorming, this concept will acquaintance with different methodological steps described in order below gained through a series of experiments in the areas of car design, architecture, sociology, psychology, spiritual therapy and ergonomics 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 relationships.

Storyboard: A form of prototyping which communicates each steps of an activity, experience, or interaction. Creating the story and characters.

Moodboard & Concept Sketch
A collage of images and words, and may include samples of colours and fabrics to convey the complex emotional communication of intended design. Fast freehand drawings and presenting the ideas to the group.

Literature Review
A detailed review of books, articles, dissertations, conference proceedings relevant to a particular area. Analyzing and synthesizing the information.

Banned
Creating future scenarios based on imagining a world without a car; creating storyboards, summarizing insights.

Collage (Group work)
Involves abstract images or words onto paper that may include objects, people and interactions. Collecting the collages. Analyzing the stories.

Preparatory Modeling
A quick way of gaining insight which simulates the function but not the aesthetics of a proposed design. Underlying the content, form and structure.

EVALUATION OF THE PROJECTS

Human factor analysis, comfort thresholds, human sense perception, emotional statement, ecological sensitivity, creativity and originality, reflection of future technologies, relevance to the brief, design value and quality, controls and functions, developmental potential, presentation and explanation.

OBJECTIVES OF THE WORKSHOP

1. Introduction the structures of vehicle design by using a multidisciplinary approach such as architecture, engineering, ergonomics, 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 modelling.

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.

OUTCOMES OF THE WORKSHOP

1. Awareness of transferring a research and analysis methodology that can be applied to various projects following the based activities in transportation and vehicle 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 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 key.

5. Practicing structuring the project and practicing choosing and applying a variety of presentation techniques; which may include prototypes, simulations, video, photography and so on.

6. Flexibility to question any given & existed typology and incorporate making in the research process not just for the final project but the overall process.

Copyright © all rights reserved by Engin Tulay. Unauthorized use is a violation of applicable laws.

INSPIRATIONS & RANDOM PROJECTS

INSPIRATIONS & THE MAKING

My dearest students & friends; much appreciated.