Mediated design: Processes of projection: The Centre for Art and Media Technology Auckland
Yong, Kwong Vei
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Mediated Design: Processes of Projection This design research project is concerned with negotiating the mediums by which experience is both encountered and mediated or represented. It engages in particular with the built environment as designed experience, film as a designed medium of projected reality and the digital as a technology of mediated extension to the measure or measurement of the real. The project also engages in the research of design process to develop a better understanding of the relational nature of things as an understanding of environment or our surrounding world. In order to develop some approach to a relational understanding of our phenomenal world, we have worked with some aspects of the writings of the philosopher Martin Heidegger. The analysis of film is approached from this Heideggerian view of things in the world establishing their meaning in the relational modes of their disclosure or in the combinations and connectivities they have with each other in our engagement or use of them. Hence, the research aims to bring together aspects of Heidegger’s understanding of environment in the context of exploring digital design processes and film media. When design process responds to what we recognise as some contemporary fundamental shifts of the most basic structures of rationalism, the design process seems to emphasise ability in term of new modes of intervention. This project has engaged in a series of key interventionist modes, starting with the series projection, mutation, simulation, which was the enabling series to begin to consider relations between film space and architectural space in terms of an abstracted tectonics of the hyperspatial. The project next considered, with respect to algorithmic devices, a series engaged in by Karl Chu: simulation, optimisation, permutation and transformation. This series enabled the project to work through the complexity of the media arts project with a systematicity that still allowed for an open approach to tectonic development. Finally, the project worked with the three key elements in the animate form developments of Greg Lynn: the exact, the anexact and the inexact. These three assisted greatly in articulating the three key elements in this project, as three conditions of architecture that approximate to a play between rigorous repetition, rigorous singularity and potentiality to becoming form.