MOVING MIND MOVING DESIGN
FUTURISTIC APPROACH TO KINETIC DESIGN
BY
TAZEEN FATIMA
BATCH 2018-2022
FACULTY OF INTERIOR DESIGN,
DEPARTMENT OF ART AND DESIGN,
INDUS UNIVERSITY, GULSHAN-E-IQBAL,
KARACHI
MINISTRY OFEDUCATION, GOVERNMENT OF PAKISTAN, ISLAMABAD
MOVING MIND MOVING DESIGN
FUTURISTIC APPROACH TO KINETIC DESIGN
BY
TAZEEN FATIMA
BATCH 2018-2022
FACULTY OF INTERIOR DESIGN,
DEPARTMENT OF ART AND DESIGN,
INDUS UNIVERSITY, GULSHAN-E-IQBAL,
KARACHI
MINISTRY OFEDUCATION, GOVERNMENT OF PAKISTAN, ISLAMABAD
MOVING MIND MOVING DESIGN
FUTURISTIC APPROACH TO KINETIC DESIGN
BY
TAZEEN FATIMA
This Thesis is submitted in partial fulfillment of the requirement of the degree
of Bachelors of Interior design from FAD
Supervisor: Arch. Satia Anand
Advisor: Prof. Samiya Sarkar
Examination Committee:
1. -----------------------------
2. -----------------------------
3. -----------------------------
FACULITY OF ART AND DESIGN
INDUS UNIVERSITY GULSHAN IQBAL KARACHI
DEPARTMENT OF BACHLORS OF INTERIOR DESIGN
DEDICATED:
……….…. to my Ammi and Abu
ABSTRACT
“Art is not what you see, but what you make others see”
CHAPTER # 1
INTRODUCTION
1. INTRODUCTION
Imagine you went to the beach and stand near the water after some time you will feel
the movement and realize that you are not at the same place initially you were. It will
feel like you are moving forward or backward. This realize us that even in the static
position we all are in motion. Every particle on the is in movement until or unless we
realize it because earth revolve in its own axis.
“No one can step on earth twice at one place”
-Aristotle
After the first world war, In Russia the artist and engineer gather up; made some art
pieces using their talents which include some sort of motion through air, water, or the
mechanical one. This art movement was known as Kinetic art movement.
The futurist renounces the thousand-year-old Egyptian error in the art which considered
static rhythm the only element in the pictorial art. They declare a new kinetic rhythm as
the basic form.
The word ‘kinetic’ means motion. In design movement is used to entertain the viewers
ultimately it also guides through a composition. Movement can be show through rhythm
which are of two types static rhythm and kinetic rhythm.
“Kinetic Art Is All About Rhythm
But
All Rhythms Are Not Kinetic Art”
Kinetic art was created by the artist who wanted to push the boundaries of traditional,
static art forms to introduce visual experiences that would engage the audiences or
viewers and profoundly change the course of modern art.
Kinetic art is about rhythm and in design it refers to interval repeating element to create
an organizational movement. It unites, highlight and set dynamism. There can be
recitation of anything like shape, color, texture, accents, direction and dynamism, it
creates harmony in design.
Dynamism is the picture that changes when input is changed. This design looks
different in different situations; the static image seems in the kinetic rhythm.
It is about to create the visual yet physical illusion through the forces which are present
all around the space by means of art, when it comes to movement we have dynamism
along with kinetic art.
1.1 HYPOTHESIS
Complex forms in dynamism creates confusing impact on one’s mind.
1.2 AIM OF RESEARCH:
The aim of research is to design a space where kinetic art can be executed through
dynamic forms with illusory effect.
1.3 RESEARCH QUESTION:
1. Does kinetic art always involve visual motion?
2. Is it necessary to incorporate illusion in kinetic art?
3. Does the dynamism effect the human mind?
4. Can visual motion create sense of physical motion?
1.4. RESEARCH STRUCTURE
THESIS STRUCTURE
RESEARCH DESIGN
ART
DESIGN CRITERIA SITE
PERFORMING ART LITERATURE ART
ANALYSIS SELECTION
DESIGN BRIEF CRITERIA
VISUAL ART
ABSTRACT REALISIM NON-OBJECTIVE DEVELOPMENT
DYNAMISIM DESIGN
STATIC ART KINETIC ART
FUTURISTIC CONSTRUCTIC
CHAPTER # 2
LITERATURE REVIEW
2.1. KINETIC BEHAVIOR, THE DYNAMIC POTENTIAL
THROUGH ARCHITECTURE AND DESIGN
AUTHOR: Mai M. Youssef
THESIS OF: Faculty Of Fine Arts, Alexandria University, Alexandria, Egypt
Kinetic behavior is a progressive methodology in architecture and design that allows
some parts to move by mechanics or sensors, without reducing the overall structural
integrity. It’s the dynamic approach that integrates the different aspects arranging the
outlined design. This paper aims to study the impact of intelligent systems in the interior
design to produce new structures for interior elements within the terms of varied
patterns and shape. It reveals the emergence of kinetic systems as an adequate
procedure and substantial function to rethink and reshape interior spaces through
metamorphic design, mobility, and mechanisms.
These systems are applied due to their transition to portray and shift either, through
specific forms or materials to plan new interactive inhabited spaces. This paper dissects
the changes affecting the function of interior spaces through the analysis and
interpretation of some architectural projects adapting dynamic mobile systems on
setting the state and the structure of the building. Additionally, the main criteria
pertaining the design to achieve further responsive potential, that is more engaged to
the recipient and the environmental surroundings. Finally, the paper discusses the
results of implementing canny dynamic systems and kinetic mechanisms to the
elements of interior design tending how they can rapidly modify their function and
regulate the performance and the efficiency and how to apply this methodology to
reshape interior spaces.
The ascending architectural thought stands at the threshold of a new evolutionary
development. Charles Darwin has suggested that the problem of survival always
depends on the body’s ability to adapt to a changing environment. This theory interprets
the evolution dynamic behavior. Kinetic design arises from the isomorphic convergence
between structure, function and responsive implications of interactive design to create
dynamic, flexible perspective through a detailed adaptive multifunctional design
constantly changing according to the user’s needs
2.1.1 REDEFINE DESIGN THROUGH VARIATION
Introducing an incipient approach to kinetic solutions in interior design, mechanisms that
can be assembled and erected rapidly yet efficient and regularly applied. Aside,
discovering the principles of kinetic interaction design through the implements of mobile
patterns to engender dynamic forms, defining its main elements from structural
innovation and materials advancement to embedded computation and adaptive
architecture that have forsaken all that is traditional within the boundaries of the
structure and the evolution of form and function, a cooperative relation to engender
adaptable efficient, flexible spaces that respond to the requisites of any activity.
2.1.2 KINETIC PRECEDENT
The principle is simple: no adjustment, no future. Adapt and survive. This introduced the
kinetics concept, the main characteristics of kinetic design, which is in replication to the
requirements of people or changing conditions. Kineticism is a concept, which refers the
changes in the position of a “mobile building”. This reference designates that a building
moves without any transformations in its form. At the same time, kineticism provides the
faculty of extension with cumulating of units of a “convertible structure”.
2.1.3 MECHANISMS
Mechanics is the science that follows physics, and it is one of the unlimited sciences
dealing with the movement of objects and their causes. A branch of Mechanics is
“Dynamics”, which deals with objects under the effect of forces, which often follows
statics study. The purpose of adopting mechanisms is to change the design pattern
2.2. INTERACTIVE MOVEMENT IN KINETIC
ARCHITECTURE
AUTHOR: Youssef Osama Elk Hayat
THESIS OF: Faculty Of Engineering, Tanta University
In recent years, many interactive concepts have been invented. Some of these
concepts have the ability to adapt and interact with the surrounding environment and its
variants which include; light, sound, wind, heat or with people. This adaptation and
interaction is done by some sort of transformation that does not require human
assistance. Moreover, returning to their original state happens without significant
deformation at the end of the external influence. Discovery of such interactive concepts
stimulated a number of architects to utilize these concepts in several architectural
environmental applications such as; sun shading, sun breakers and windows, in a way
which significantly makes use of the concept and technology of interactive movement in
architecture. The paper attempts to review the literature and descriptively analyze
interactive applications in kinetic architecture and study the role of these applications in
the development of this trend in architectural design to be more effective and applicable
in the future.
Over the ages, architecture has brought forth a wide-ranging canon of design principles
that address how to design good, man-made built environments at all scales. These
principles describe the respective, culturally-specific understanding of well-designed
architecture. Little thought is given to the design possibilities afforded by changing
individual parts of a building over the course of time. The following examination offers a
systematic breakdown of aspects and parameters that inform the good design of
movable architecture.
2.2.1 TIME
That's where time is always accompanied movement and material, if the place has three
dimensions, the dimension of time is one to forward, and if the place expresses about
the spread of things existing together, then time refers to the relay existence of
phenomena
2.2.2 PHYSICS AND BALANCE MECHANICS
It is a science which follows physics, and it is one of extensive sciences dealing with
movement of objects and their causes. A branch of Mechanics is “Dynamics”, which
deals with objects under effect of forces which often follows statics study. Movement of
objects can be divided into One Dimensional Motion, Motion in Two Dimensions,
Circular Motion, Periodic Motion, Vibration Motion, and Oscillatory Motion
2.2.3 SPEED AND ACCELERATION
A part of movement is the speed at which movement takes place. Without speed, or a
change between two different states there is no movement. Movement results from a
change in position from a stationary condition via acceleration and deceleration to a
new stationary condition.
2.2.4 FORM AND SERIAL REPETITION
Moving things like all things are characterized by specific forms. But the definition of
form is more complex than with static objects as its form changes with movement. The
serial repetition of movable building elements is very common in architecture. The way
in which elements are coupled in series can have a great effect on the overall
appearance
CHAPTER # 3
CASE STUDY
3.1 INTERNATIONAL CASE STUDY
PROJECT NAME: The Polish Pavilion-Dubai Expo
LOCATION: Union Avenue, Dubai
ARCHITECT: Trio Of Studios (Warsaw-Based Architecture Practice Wxca With
Swiss Design Studio Bellport Partner)
3.1.1 INTRODUCTION
Poland’s ultimate objective is to promote
domestic economy and business, yet the
event also offers a great opportunity to
present the country’s tourist potential and its
culture and art
The theme of this edition of the World
Exhibition is “Connecting Minds, Creating
the Future”. The organizers are focusing in
particular on cooperation, as a remedy to
the global pandemic crisis.
Poland will be presented in a pavilion of over 2,000 square meters, which has a wooden
facade and a very large kinetic sculpture, depicting a flock of birds. The most
spectacular element of the exhibition will be the "Polish Table”, an artistic multimedia
installationcomposed of 120 modules made from Polish wood, with special modules
created by top artists, architects, and engineers.
Poland will present creativity as its national feature which gives the country its
economic, scientific, cultural, and social success. The narrative in the Polish Pavilion is
divided into five sections that share a common motive: “Poland. Creativity inspired by
nature”.
3.1.2 BRIEF
It is inspired work of architecture to rise on
the 1,000-plus-acre Expo 2020 Dubai site.
the Polish Pavilion takes the form of a boxy,
timber-clad modular structure , enveloped
in a large-scale kinetic sculpture meant to
resemble a flock of birds in flight. The
installation symbolizes the migration of
birds from Poland to the Arab world and
provides a nice spot to duck out of
sweltering desert heat to catch a bit of
shade courtesy of the massive flock overhead .
3.1.3 DESIGN CONCEPT
The sculpture represents “the richness of Polish avifauna, and also serves as a
universal notion of mobility–of people, ideas and natural resources.”
3.1.4 LOCATION
It is in the main hub of Dubai surrounded by
sustainability expo and Rove hotel. It is easily
accessible for public.
3.1.5 PLAN
Entrance
Polish Table
Staircase
Exhibition Area
Washroom
DESIGN FEATURES
3.1.6 FACADE
The three-story Pavilion is an
assemblage of timber "boxes" encased
within a kinetic sculpture symbolizing the
migration of birds from Poland to the
Arab. The installation is made of aluminum alloy modules that flutter with the movement
of air. The sculpture is reiterated at the interior of the Pavilion, creating a seamless
experience.
3.1.7 RECEPTION AREA
The Pavilion's visitors have a chance to stop and
take a rest in the shade provided by the dynamic
shape of the building. It is an unforgettable yet
relaxing experience, to reconnect with nature by
listening to the rustling wind, to surrender yourself
to the spell of movement of the kinetic sculpture.
3.1.8 WAITING AREA
It is populated with plants, soundscapes, videos, and
artistic illustrations representing the five “characteristic
landscape” of the country; the Baltic coast, ancient
mountain, forests and wetlands, mountains, meadows
and lakes.
3.1.9 A HOME FOR CREATIVITY
A home for creativity, revolves around the crowd
drawing center piece of the exhibition, a voice activated
interactive installation dubbed The Polish Table.
Realized in the pavilion’s main hall. The multimedia art
installation, created from wooden blocks and modules.
The Polish Table, an interactive, multimedia art
installation in the Poland Pavilion, will be a welcoming
intercultural meeting place. It was created out of over 100
wooden blocks and special modules made of materials
characteristic of Poland, such as glass, silver and copper,
steel and ceramics. One of the modules was even 3D
printed in aluminum used in space solutions. The Polish
Table will be a background for the story about the Polish
landscapes, natural resources, design and culture.
3.1.10 SPIRIT OF INGENUITY
Spirit of Ingenuity, shares the achievements of Polish
innovators, artists, and entrepreneurs via over 200
stories that unfold through choreographed video and
motion graphics narration.
3.1.11 TEMPORARY EXHIBITION SPACE
Temporary exhibition space where a slew of
Polish cultural institutions and regional
organizations will host revolving (they change
every week) pop-ups throughout the six-month
run of the Expo.
3.1.12 LANDSCAPES OF CREATIVITY
Landscapes of creativity, is described by the
creative team as a “one-of-a-kind art
installation composed from 50 pieces of
mirror-polished steel and interactive,
immersive scenarios that encourage visitor
playfulness and collaboration.”
3.1.13 MATERIALS
In the polish pavillion different materials are used.The polish table an interactive
multimedia art installiation in the poland pavillion.It is the welcoming and intercultural
meeting place representing their resouces and more.the materia;ls are used are glass,
silver,copper,steel , ceramic.the polish table was created over 100 blocks of timber
wood.
3.1.14 CONCLUSION
Poland perceives its people as the country’s great resource creative, well educated, full of
energy and ingenuity, able to face new challenges and set trends The polish pavillion of
polan dubai expo 2020 allows a person to take rest in a shade of a kinetic sculpture
represententing flying birds.it makes a person to be a part of an intercultural meeting at
the polish table and turn your voice into light.I also give the experience contemporary
poland through design,immersive projections and vibes of ingenity.
3.2 INTERNATIONAL CASE STUDY CASE STUDY
PROJECT NAME: Mat Bevel's Museum of Kinetic Art & Surrealistic Pop
Science Theater
LOCATION: Tucson, Arizona
SCULPTOR: Ned Schaper
3.2.1 BRIEF
Mat Bevel Company is home to the Museum of Kinetic Art, over 150 found-object kinetic
sculptures created by sculptor Ned Schaper. He uses only what’s available found
objects as the raw materials for his sculptures, along with his understanding of
mechanics and physics. The real magic is in Schaper’s intuitive engineering approach.
3.2.2 DESIGN CONCEPT
The design concept was to reuse the lost things into sculptures so that there is less
wastage of thing. This museum is also known as ‘A Lost Land Of Found Objects’.
3.2.3 LOCATION
The muesum was firstly introduced as a
theather and then overcome with Launch
pad enterprizes.
3.2.4 UNIQUE NAME &
PURPOSE
Schaper performs with and wears all the sculptures in the museum as part of his one-
man Surrealistic Pop Science Theater. Each sculpture has a unique name: Americana
Duck, Lover Boy, Sharka, Chicken Pox and The Thought Launcher. They each have a
purpose too. The sculptures in the museum come to life as theater’s sets, props,
costumes and puppets.
3.2.5 SCULPTURE ARE ALIVE
The story takes place in the world of
Beveldom, “a lost land of found objects”
where discarded objects find magical new
life. Host Mat Bevel along with a huge cast of characters, all played by Schaper and his
mechanical puppets, demonstrate the wonders of kinetic art using poetry, music,
movement and light.
3.2.6 LIGHT & SPACE
The play of light in the entire space
change the environment convert the usual
space to a dramatic one. After all galaxy is
filled with kinetic art
3.2.7 SCRAP IS NOT A SCRAP
The sculptor through his innovative idea and the skill of art change the mindset that
scrap does not mean it cannot be reused to a pleasing piece of art or the scrap can
change and empty space to an interactive space.
CHAPTER # 4
THEORY
4.1 KINETIC ART
Kinetic Art means art which involves movement. (The word comes from the Greek,
kinesis, movement, kinetics, mobile.) But not all art which involves movement is
'kinetic' in the precise sense in which the term is used when we speak of Kinetic
Art.
From the earliest times, artists have been concerned
with depicting movement, the movement of men and
animals: galloping horses, athletes running, lions
leaping on their prey, birds in flight.
In other words, they have been concerned with the
representation of movement, or, to be more accurate, of
moving objects. But the kinetic artist is not concerned
with representing movement: he is concerned with the
movement itself, with movement as an integral part of the work.
Not all works which move are considered 'Kinetic' nor do all 'Kinetic' works move. In
the precise sense in which the term is used, a work of Kinetic Art must have other
specific qualities besides that of moving: the movement must produce a particular
kind of effect that will be discussed in a moment.
On the other hand, it is not essential that the work itself should move. The effects
proper to Kinetic Art can be produced by the spectator moving in front of the work or
by the spectator handling and manipulating the work.
4.2 HISTORY OF KINETICISM
Inspired by the Dada art movement, which popularized satirical, conceptual art, and
Constructivism, which employed architectural elements, kinetic art took root as a
movement in the early twentieth century and peaked in the 1950s and ’60s.
EARLY 1900s:
In 1913, artist Marcel Duchamp started exploring the idea that art could be
interactive. In his Paris studio, he created what may have been the era’s first piece of
kinetic art, Bicycle Wheel, by affixing a bicycle wheel to a stool in a way that allowed
the wheel to spin freely.
1920s:
In 1920, brothers Antoine Pevsner and Naum Gabo
coined the term “kinetic art” in their “Realistic
Manifesto,” a poster-sized manifesto advocating for
their Constructivist ideals and the idea that modern art
should be grounded in space and time. That same year,
Gabo created Kinetic Construction (Standing Wave), an
influential kinetic artwork that used electricity to make a
strip of metal oscillate.
1930s:
In 1930, Hungarian artist László Moholy-Nagy
completed work on his piece Light-Space-Modulator, a
mechanically-powered kinetic sculpture that had several
interlocking components.
1940s:
In 1941, American sculptor Alexander Calder rose to fame with Arc of Petals, a
mobile he created using a wire frame with petal-like appendages.
1950s:
The kinetic art movement reached peak recognition at the 1955 exhibition, Le
Mouvement, at the Galerie Denise René in Paris. The exhibition featured artists who
experimented with motion including Jean Tinguely, Alexander Calder, Yaacov Agam,
Marcel Duchamp, Jesús Rafael Soto, and Victor Vasarely. George Rickey also
arrived on the scene around this time and influenced other kinetic artists with his
organic, playful sculptures.
1960s:
Swiss painter and sculptor Jean Tinguely unveiled his
most recognized kinetic artwork, Homage to New York,
in New York in 1960. A large-scale system featuring
many moving parts, the piece included parts that self-
destructed and intentionally caught fire. This piece also
popularized the use of found objects, a style that came
to be known as “junk art.”
1970 TO PRESENT:
By the early 1970s, kinetic art declined in
popularity as more artists turned to op art
and experimental digital formats.
However, contemporary art continues to
draw inspiration from kinetic artists.
4.3 LEGACY OF KINETICISM
It would be futile to attempt to summarize all that has been done in twenty years. I
shall, therefore, consider only the in which artists have worked, and, for
convenience. group their works under three heads:
Works involving actual movement.
Static works which produce their kinetic effect by the movement of the
spectator.
Works involving the projection of light.
4.3.1 WORKS INVOLVING ACTUAL MOVEMENT
Works which actually move may distinguish from one another by the motive power
employed. Since the twenty’s technology has sufficiently advanced to make it
possible for artists to use a wide variety of electrically powered machines.
But some still rely on natural sources of power. Kenneth Martin and George Rickey,
like Calder, uses the movement of air: Martin, to achieve a continuous upward spiral
motion of curving metal strips; Rickey to produce contrasted rhythmic movements
with tall, slender blades which move to and fro like high grass swayed by a breeze.
4.3.2 STATIC WORKS PRODUCE THEIR KINETIC EFFECT
Works involving movement on the part of the spectator in 1920, Marcel Duchamp
demonstrated, by means of his Rotative Plaque Verre, that if a flat disc painted with
concentric circles is spun rapidly it Mill take on the appearance of a solid object.
In other words, a moving object may undergo so radical an optical transformation as
to appear to be something quite different. Under certain conditions, the same effect
may be attained by the spectator moving in front of an object.
4.3.3 WORKS INVOLVING THE PROJECTION OF LIGHT
The use of light may be roughly divided into the pictorial and what I shall call the
sculptural, that is, light projected into space. The sculptural use of light in the strict
sense is that in which it is used to define areas of space.
Three things are usually involved here: the light source, the beam of light, or the
aura of light, if it is not focused, and the illuminated surfaces these may include
parts of the work or if it is in an enclosed space, the surrounding walls.
This use of light has the effect of drawing the spectator into the orbit of the work
itself. It creates an artistic environment. But the focus of attention can vary.
4.4 FUTURISM
4.4.1 HISTORY OF FUTURISIM
Art Movement: Futurism – Celebration of Movement
Futurism (Italian: Futurismo) was an artistic and social movement that originated
in Italy in the early 20th century and also developed in Russia. It emphasized
dynamism, speed, technology, youth, violence, and objects such as the car, the
airplane, and the industrial city
Key period: 1908 – 1944
Key regions: Italy
Key words: movement, dynamism, modernity, industry, technology, speed
Key artists: Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Giacomo
Balla, Gino Severini, Luigi Russolo, Benedetta Cappa, Antonio Sant’Elia.
4.4.2 ORIGINS OF FUTURISM:
In 1908, the Italian poet Filippo Tommaso Marinetti swerved to miss a
cyclist and crashed his car in a ditch. The experience of the old bicycle
versus the modern car inspired him to write his manifesto of Futurism, a
movement that would conquer nostalgia and tradition. By 1910, the young artists
Umberto Boccioni, Carlo Carrà and Luigi Russolo had joined Marinetti’s
movement. They suggested Futurism could reach beyond just literature and
poetry, and the three artists wrote the Manifesto of Futurist Painters. They sent
this to their colleagues Gino Severini and Giacomo Balla, who signed the
manifesto. Together, these artists formed the core group of Futurist artists
4.4.3 KEY IDEAS BEHIND FUTURISM:
The Futurists sought to sweep away what they believed were outdated,
traditional notions about art. Instead, they wanted to replace these with an
energetic celebration of the machine age. The key focus was to represent a
dynamic vision of the future. As such, they often portrayed urban landscapes and
new technologies including trains, cars and Aeroplan’s. They glorified speed,
violence and the working classes, believing they would advance change.
4.4.4 FAMOUS FUTURISM ARTWORKS:
Arguably the most iconic Futurist artwork ever
made, Umberto Boccioni’s Unique Forms of
Continuity in Space is a “Cubo-Futurist” figure
striding in forward motion. The figure’s powerful
legs seem to be marching ahead, carved by
forces such as wind and speed. This modern-
man machine can be read as an allegory for
Italy’s quest to define itself as a modern nation.
Umberto Boccioni, Unique Forms of
Continuity in Space, 1913. Courtesy
MoMA
The Funeral of the Anarchist Galli is one of Carrà’s most famous works. Angelo
Galli was an anarchist and labor organizer in Milan who was killed by the police
during a strike in 1904. Since they feared
that Galli’s funeral would turn into a political
demonstration, the state sent police to
obstruct anarchists from entering the
cemetery. When they resisted, police
responded with force and a fight broke out.
Carrà witnessed the event and captured
Carlo Carrà, Funeral of the Anarchist Galli,
the intensity and chaos of the scene, as well as the rapid movement, in this
painting.
4.4.5 FUTURISM ACHITECTURE:
Italian architect Antonio Sant’Elia embraced
the twin ideals of mechanisation and motion,
proposing a vision of a modern city in the form
of a gigantic machine; he named it Città Nuova
(“New City”), a name quite contextually
appropriate. This utopian futurist city, designed
between 1912 and 1914, was a vast, multi-
level, interconnected urban conurbation where
massive skyscrapers were integrated by
elevators, bridges, and elevated walkways in a
constantly evolving artificial landscape.
Antonio Sant’Elia, New City, 1914
4.4.6 THE LEGACY OF FUTURISM:
The Italian Futurists influenced many artists and other art movements. Vorticism
was inspired by Cubism and Futurism, embracing dynamism, the machine age,
and modernity. It is often regarded as the British equivalent to Futurism, yet its
founder, Wyndham Lewis, deeply disliked the Futurists. In Russia, artists like
Natalia Goncharova were embarking on their own Futurist explorations – Russian
Futurism is usually considered a separate movement, but some of its artists did
engage with Italian Futurism.
In the United States, the ground-breaking Armory Show introduced Futurism
along with the other European Avant-garde movements to an astonished
American audience, ultimately leading to the rise of American Modernism with
the development of Precisionism, the first real indigenous modern art movement
in the United States.
4.5 FUTURISTIC APPROACH TO KINETIC ART
The physical movement in which as long as speed is concerned is the cohesive factor
that allows the fusion of kinetic and futuristic.
“A new city, imagined as a machine in motion”
Futuristic art or deign is based on the idea that the object wasn’t considered separate
from other objects around them or their environment. In their struggle to crave unique
path for their movement. They also borrowed from the principle if divisionism.
4.5.1 PRINCIPLE OF DIVISIONISM
Divisionism is the old technique which include separating colors inti individual
group(contrast). It forces the viewer to combine solid colors optically. It also breaks
down light color into stripes and dots.
4.5.2 FUTURISTIC TECHNIQUE
The Futurists came up with various techniques and philosophies to showcase their
important themes to their audience.
Traits found in Futurist art and design include:
A focus on modern, and objects in motion
The use of lines of force, which communicate the directional
thrusts of objects through space
The use of simultaneity, which mixed the elements of memories,
current impressions, and future-event anticipation
The presence of emotional ambience, which is the linking of
feeling between interior emotion and the exterior scene
Reliance on intuition, defined in design and art as an indelible
experience of sympathy that causes the viewer to be moved
enough to an object’s inner quality to discover what’s unique
about it
The perception of continuous movement
Futurists also been interested in sculptures
The perception of continuous movement and the value of sculptures in design leads to
kinetic art movement. In 20th century kinetic art became an important part of the design
as it is always being an extraordinary design concept because of movement.
4.6 IMPACT IN INTERIOR SPACES
4.7 SCULPTURES
The kinetic sculpture created during the 1960s is exemplified by the works of Jean
Tinguely. His self-destructing “Homage to New York” perfected the concept of a
sculpture being both an object and an event, or “happening.”
The aim of most kinetic sculptors is to make movement itself an integral part of the
design of the sculpture and not merely to impart movement to an already complete
static object
CHAPTER # 5
FUNCTION
5.1 ELEMENTS OF DESIGN:
5.1.1 LINE:
When it comes to design element. Line is the important
element in design, and line itself is divided in thousands
type. when we connect this line, it gave various of shape
and pattern. Just like the connecting crave and sharp line it
creating illusion and show the movement through line.
5.1.2 FORM:
In easier terms, form is one of the seven elements of interior
design and refers to the three-dimensional shapes of objects in a
space as well as the shape of the space itself.
We can also divide form into two form virtual movement and
actual movement.
5.1.3 LIGHT:
Whether natural or manmade, light plays an important part in
your design. A play of light is what enhances the effects of other
elements, like patterns, colors, and textures. It is also what sets
the mood and ambience of a space. With light we can also
creating movement.
5.1.4 COLORS:
Adding to the aesthetic appeal of any interior, colors need no introduction. if you take a
look at color psychology, colors impact the mood and the
personality, leading us to the conclusion that some hues
are just more appropriate for a harmonious. Colors can be
categorized into primary and secondary colors, with further
sub-classifications as well. Moreover, each color has
varying hues, intensity, and values that have the ability to affect a person’s moods,
emotions, memories.
5.2 PRINCIPKE OF DESIGN:
5.2.1 BALANCE:
Proper distribution of objects around a space creates a
visual balance that makes more appealing to the eye.
Balance can generally be created in three ways.
Symmetrical balance, asymmetrical balance radial
balance.
5.2.2 CONTRAST:
contrast means using two colors, forms, or textures
that differ strikingly from one another in such a
manner that they complement each other to create a
stunning interior as a whole. The most common
example of this is monochrome, where black and
white are colors that are complete opposites of one
another, and yet, when used together, create a
jarringly beautiful result.
5.2.3 RHYTHM:
Rhythm dictates the line of sight through a space.
As is the case in music, rhythm is all about
creating flowing patterns with repetitions,
transitions, and progressions that end up creating
an amazing aesthetic. Rhythm can be created
using the same colors, same materials, same shapes. Rhythm also can show through
movement.
5.2.3 SCALE AND PROPORTION:
Scale and proportion are both design elements that have to do with size. Scale is the
size of one object in relation to the other objects in a design or artwork. Proportion
refers to the size of the parts of an object in relationship to other parts of the same
object.
5.2.4 HARMONY:
Harmony refers to the pleasing relationships among the
parts of a composition. Harmony is achieved through
similarity among all of the elements of design… LINE,
FORM, COLOR, AND TEXTURE. The viewer will
experience a feeling of satisfaction and agreement if
harmony has been achieved.
CHAPTER # 6
SURVEY
i. Gender
ii. Age group
iii. Do you know about kinetic art?
iv. Are kinetic and dynamism same?
v. Can illusion be defined as kinetic art?
vi. Do you think Ping-Pong ball can be the example of kinetic?
vii. Does kinetic design operate by machines only?
viii. Does the kinetic always involve physical motion?
ix. Is it necessary to incorporate illusion in kinetic art?
x. Does the dynamism effect the human mind?
xi. Can visual motion create sense of physical motion?
xii. Does kinetic art include in abstract art?
xiii. To achieve a kinetic design, dynamic approach is necessary?
xiv. Can kinetic art reshape the interior space through metamorphic design?
xv. Have you ever seen any object with kinetic movement/energy?
xvi. Would you prefer intelligence system in interior space?
xvii. Which picture shows the kinetic interior?
a b c
xviii. In a kinetic design which element have you seen the most.?
xix. Kinetic art is mostly observed in
xx. What do you think interactive sculptures it should be?
xxi. Which type of lights are used in kinetic interior?
xxii. What kind of interior space should be design on kinetic art?
CHAPTER # 7
SITE CRITERIA
CRITERIA FOR SITE SELECTION:
The site selection process includes a detailed evaluation of project needs which are
then measured against the merits of potential locations. The process typically includes
selecting and evaluating communities, real estate site analysis and acquisition, and may
include negotiating tax incentives.
To design the perfect space, the selection of the right site will be the priority. The
physical location of commercial real estate venture is nearly as consequential as
determining where to build your space in some cases, even more so. A retailer won’t
thrive if their store is too far from established shopping areas, and an office building may
have trouble finding tenants if it’s out of the way and hard to commute to. It is eventually
necessary to consider the following factors:
LOCATION:
The concept is to design a space having both indoor and outdoor areas. The site should
be located in commercial lane. Surroundings of the space should not be polluted, noisy,
or have any un- pleasant odor because these factors affect the environment of the
space.
ACCESS:
It should be easily accessible for the users interacting with the space. The accessibility
areas should undergo the standards for a commercial space.
PARKING
Parking spaces are very important to the site. A site must have enough parking spaces
to provide their visitors a place to park their car. Since cars are a main factor in
transportation, a city site meet the needs of the drivers.
SURROUNDING:
It should be nearby one or more major roads (in good condition) and are easily served
by public transportation. It should be clean and hygienic as per the criteria. Include
amenities as being consider the qualities of the site.
ORIENTATION:
The space should be properly oriented with the direction of sun and wind to have proper
day lighting and ventilation as they are an important factor and play a great role for
success a spaces.
USER GROUP:
The user group should be for all generation; kids, teenagers, youth and senior citizens
who enjoy space and their environment.
CHAPTER # 8
DESIGN CRITERIA
