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The application of the information architecture method to design an intuitive haptic interface ..

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Flying Robots – Autonomous Systems Lab | ETH Zurich

Hailing from Northern California in the heart of Wine Country, Michael has been involved in architecture since a young age. After working on a multitude of projects in the Northern California region for many years, including custom residential and commercial architecture, Michael made the move to San Diego in 2007 to graduate from NewSchool of Architecture and Design in 2012. After starting work in the healthcare architecture field in 2009, Michael has continued his study on the healing spaces we create through healthcare design and construction. His interest in design for user interaction and experience, focusing on the haptic feedback of our environment and material quality, is something he intends to bring to the firm. His off-time, if he has any, is spent through his interest in astrophotography, landscape & contemporary art/architectural photography as well as traveling, off-roading, kayaking, hiking, and camping.


Haptic Experiences takes a fresh, nuanced look at the evolution of English shrine architecture in relation to tensions between the sight and touch of pilgrims.

School of Engineering | Stanford University

Project Pressfit Furniture Undergraduate Thesis, NewSchool of Architecture 2008-2011 Haptic Communications NewSchool of Architecture…

The prospect of working out an aesthetics of the haptic qualities first raises the question of where works of art based on these qualities can be found. In our daily life, the meaning of tactility remains imprecise and is often confounded with the haptic and kinaesthesia, which results in a certain ambiguity. On one hand, it appears that no ordinary subject can experience purely tactile works of art, as there is a basic tendency to visualize everything we see. On the other hand, elements of the haptic system (sense of touch, pain, force and temperature) are actively engaged in our current aesthetic experience of fine art, dance and architecture, when handling objects of applied art, and even when playing music. Should touch, then, and haptic sensation in general be equated with kinaesthesia and the performative aspect of art creation and art experience?

Sandra joined Mascari Warner Architects in March 2000. She proudly supports the partners with day to day operations. Her role as Executive Assistant for the firm includes involvement with the Lean Construction Institute Southern California Chapter. Sandra very much enjoys the architectural environment and working with the talented team at Mascari Warner Architects.

2014-15 Fulbright Schuman EU Grantees

Lee, Consensus-Based Peer-to-Peer Control Architecture for Multiuser Haptic Interaction over the Internet, ..

Artists have also created environments for different senses, including exhibitions where blind people and seers were subjected to diverse haptic sensations. The visitors were introduced to unlit spaces (Daniel Spoerri's in 1962 in Amsterdam; Spoerri's guided tactile tour through Munich in 1984) or were invited to expose their hands, feet and head to the unknown content of obscure boxes (exhibition of the students in design at the Fachhochschule Köln in Bonn in 1995). Other tactile exhibitions with instructive goals were meant for viewers of all ages (, Basel, 1996; , Dresden, 1997, , Rheinland-Pfalz, 1997). Pedagogical techniques have been worked out in , and architects have designed playgrounds that explicitly mediate hands-on learning for children (e.g., "Shiru-ku Road," by Kijo Rokkaku, Tokyo).

A second argument against an aesthetics of the aforementioned secondary or "lower" senses was that their sensory data tend to gather in synaesthetic configurations. One sees tactile qualities, and the gustatory and olfactory impressions are so intertwined that together they form the so-called oral sense. Yet why should the strong synaesthetic dimension of haptic, olfactory and gustatory experience affect their aesthetic quality? After all, the single senses of the visual arts and music is not the source of their artistic value. If it is true that the synaesthetic bias frequently makes it impossible to consider the secondary senses separately, this means only that they require a more complex approach than the usual aesthetic interpretation. For example, vegetarianism has an encompassing aesthetic component which is irreducible to the sense of taste but implies the idea of a cosmic harmony and an ethical and even religious background. Also, the use of natural materials in architecture for their pleasing tactile, thermal and olfactory qualities has to reckon with economic conditions, climatic factors and the like.

Haptic architecture thesis
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Architecture thesis proposals - West Michigan Beer Tours

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The situational character of the aesthetics of all the senses prevents one from generalizing the boundaries of the aesthetic in the attempt to produce a general definition of what is art is and what it is not. Also it takes into account the particular function of the object in the applied arts, such as architecture and design, and its interaction with the bodily subject. The practical use of clothes, furniture and other personal objects over some time alters the physical characteristics of the object, often inducing a specific aesthetics of degradability, vulnerability and temporality. The vintage shops and flea markets, just to take two examples, are genuine sources of artistic creativity; filmmakers and theatre directors create specific poetic atmospheres by means of used objects; the aesthetic quality of wine grows by maturing in time, etc. Some of the art forms addressed to the secondary senses imply a double hermeneutics: the interpretation of the scent associated with certain people requires an understanding of not only the formal olfactory composition, but also the person's motivations in wearing it; the same applies to tattoos or fashion. Finally, several art forms based on haptic, olfactory and gustatory stimuli are synaesthetic. Their philosophical-aesthetic theory should therefore be able to deal with connotations, associations and metaphors, yet without becoming literature.

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