Abeeha_Awan_Thesis_Shaping-the-City_2020 by Abeeha

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SHA PING THE CITY A B EE EEH HA AWAN

Content

Dedication

01 Introduction Problem Statement Critical Postion Thesis Statement 02

Literature Review

Methodology & Criteria

Precedent

05 Design Research Taxonomy Staging and Logistics Construction Process Flow Algorithm Render Visualisation 06

Assessment and conclusion

Appendices Reference Images Figues

SHAPING THE CITY: MANIFESTATION OF GAMIFICATION

GETTING LOST, BEING FOUND & [EVERYTHING IN BETWEEN] A Thesis Presented to the Undergraduate Faculty of The New School of Architecture & Design In Partial Fulfillment of the Requirements for the Degree of Bachelor of Architecture

BY: ABEEHA AWAN

PROFESSOR: DR ERIC P. FARR

“What is now proved was once only imagined.” ―William Blake 8

Dedication Thank-you to those who believed in me. Thank-you to my family. Thank-you to my sister Manahil for her interest in world building and for my other sister Zaina and my mother for keeping me on my toes. Thank-you to Thank-you to my father who valued education amongst all else and his father my grandfather who got it all started . . . Thank-you to Nick Yang for his unrelenting support without whom this thesis would not be possible.

problem> alleviation> method> tool>

isolation> engagement> gamification> architecture games +AR tech>

FOREWORD I started this project with the hope that people could learn to detach from their busy important realities and learn to take time to envision and build better realities. I wanted to encourage people to play, to get lost, to take time from what they consider important and view reality through different lenses.

Iâ&#x20AC;&#x2122;m writing this foreword now from a different reality in itself with the Covid pandemic locking the world down for nearly several months in many countries. The pandemic has been a stark reminder of how tenuous our own realities are, how the systems that seemingly seem so firm and impregnable and the world we thought we knew was so much more fragile and easy to take for granted than we could have ever imagined. For many, the most grim lesson from our reality was learning of our own lack of agency and the lack of control, the realization that the reality that we thought we shaped was uprooted entirely by a force we could not ever hope to mold and shape in our image.

As much as the virus has taken away, it does grant us one invaluable gift: the gift of perspective and the gift of agency. We had forgotten what it means to create and come together. The seemingly inane simple creative tasks throughout the day that before â&#x20AC;&#x153;we had no time forâ&#x20AC;? now bring us extraordinary pleasure and are the sole tethers we use to keep us grounded and sane.

01 Introduction

01-1 Problem Statement 01-2 Critical Position 01-3 Thesis Statement

01-1 Problem Statement

01 Introduction

When was the last time you got lost? And is getting lost always a bad thing? When was the last time you wandered off not because you didn’t know where you were but because you were on an adventure? When did you last take the time to appreciate the world around you, especially the architecture? When was the last time you looked up at the concrete and glass above and around you as more than just shelter but as someone’s artistic vision, as the collective effort of hundreds, and as something beautiful?

When was the last time you made something, taken something into your hands and created something you were proud of? What happens to that innate drive to create we’re born with, the sort of impulse that has four and five year olds putting together Lego’s for hours or building forts out of pillows? Is there any way to go back?

The challenge the thesis hopes to meet and to overcome is that perception of architecture as inaccessible and out of reach instead of everyday and extraordinary. In the process of meeting this challenge, I hope to create a way of enjoying and inspiring architecture into the masses, building communities and creations. Imagine building the Notre Dame Cathedral brick by brick and walking through it. Imagine events to create venues or art pieces, imagine a VR concert with a stage and performers built by the audience that only you can see, or an interactive sculpture Ayou can walk through in virtual reality.

01 Introduction

01-2 Critical Position

01 Introduction

Through my thesis I want to explore these ideas: of getting lost and finding yourself in the simple act of creation, of breaking free from the routine and meeting new people you wouldnâ&#x20AC;&#x2122;t have met before, as well as imprinting a love of architecture in the average person and teaching people about the world they live in. I believe gamification, game design, and AR technology are the tools best suited to meeting these challenges.

Games allow us to get lost in digital fantasies and find ourselves through virtual avatars. Games create social experiences and simulated realities open to infinite possibilities and countless creations. AR augments our existing environments and takes us to different worlds and layers new realities and viewpoints over our own allowing us to experience life in a way we wouldnâ&#x20AC;&#x2122;t normally. Gamification ties these realities and environments together into a cohesive structure of incentive systems, keeping people engaged and motivated in the world and galvanizing human behavior to the realm of the curious and creative.

01 Introduction

Make no mistake: we are no different from the ancient Lydians. Today, many of us are suffering from a vast and primal hunger. But it is not a hunger for foodâ&#x20AC;&#x201D;it is a hunger for more and better engagement from the world around us. What is our [End] goal?

01 Introduction

bringing masses to masses by architecture using gamification

01-3 Thesis Statement

nology through the development of an AR toolbox: a kit designed to inspire the next generations of architects through gamified principles and game design.

01 Introduction

The thesis hopes to bring architecture to the masses through gamification principles and AR tech-

The AR Tool Kit comes with various real world and virtual elements. The kit doesnâ&#x20AC;&#x2122;t initially let participants free to go wild in a sandbox, but instead has them log on to a virtual simulation that makes use of a gamified system leading young people to develop a curiosity and passion towards architecture through the most basic (but recently mostly forgotten) American tradition: a tree house. In the virtual simulation exists different levels and tutorials put together as a series of puzzle-type mini-games to teach the various architectural principles players will need to know to build an effective tree house such as putting down a smooth foundation, learning how to balance weight distribution, and allowing natural light through windows.

As one progresses through the in-game tutorial of the virtual elements, one unlocks more and more assets to use both in the builder and eventually in real-life which provides incentive to progress and also measures competency before giving players access to more advanced elements like zip lines and climbing walls

At the end, as a master of the skills they learned, the player can then use the AR surveying tour and the newly unlocked sandbox to create their own treehouse in their backyard or whether theyâ&#x20AC;&#x2122;d like. The tools provided allow the player to adapt the structures to different areas for those without strudy oaks and wide backyards to build their treehouses in. As part of the kit, a compactable support system and artificial tree allows the structure to be put up in a variety of places. The kit can be used as a family bonding activity using the age-old tradition of hands-on craft. Furthermore, partnerships with community organizations and schools are set up to put up treehouses and run the kit. The project isnâ&#x20AC;&#x2122;t just limited to kids but is designed to be accessible to all ages. With the recent trend of micro-living and DIY, the kit can be utilized by adults and even cities for everything from art installations to temporary micro-homes. Imagine community build days where many people can build together at an organized event to create a grove of VR tree houses

EVOLUTION OF MAN

So how did it all start and where are we going? Are we progressing or degressing? Is it through Exploration or merely getting lost will we find our reprive?

LET US ? GET LOST

02 Literature Review

02-1 Maslow

02-2 Gottfried Semper 02-3 Jane McGonigal

02-1 Maslow

02 Literature Review

Why do we do the things we do? What drives our every action? Maslowâ&#x20AC;&#x2122;s Hierarchy of Needs was an attempt by sociologist Abraham Maslow to quantify what motivates human behavior from the simplest decisions to the most grandiose events. Maslowâ&#x20AC;&#x2122;s needs are the foundation for Skinnerâ&#x20AC;&#x2122;s boxes, the butterfly effect and causality, and the most rudimentary mundane chores and the most earth-shattering decisions. As the laws of the universe dictate, for every action there must be an equal and opposite reaction and these actions themselves must have initial causes.

In this vein and through these lens, we can examine the profession of architecture as more than, an extension of our most fundamental needs and desire to shape and mold the world around is. Architecture is essential, not just an artistic outlet but something primal rooted in shelter, safety, and self-actualization

02-1 Hierarchy of Needs

nology through the development of an AR toolbox: a kit designed to inspire the next generations of architects through gamified principles and game design.

02 Literature Review

The thesis hopes to bring architecture to the masses through gamification principles and AR tech-

02-2 Gottfried Semper

four elements of architecture detailing the fundamental and anthropological origins of the craft tied to the history and habits of humanity. Drawing from ancient civilizations and modern construction, Semper outlined the development of various elements (the hearth, the roof, the enclosure, and the mound) into a universal theory of architecture stemming from the development of our needs as

02 Literature Review

In the late 1800â&#x20AC;&#x2122;s , Gottfried Semper, a German architect and theorist, penned his theory on the

human beings. In this way, Semperâ&#x20AC;&#x2122;s architectural theories though separated by time and principle draw astonishing parallels with Maslowâ&#x20AC;&#x2122;s sociological studies quantifying human motivation and the rise of civilization.

The Hearth is the home of oral storytelling, a symbol of safety and physiological needs like

hunger and warmth. Within the hearth are the most fundamental crafts of metallurgy and ceramics, shaping the very earth into the tools needed to brave the elements and survive. From literal dust and sand, mankind shapes the protection and security needed to advance day to day.

The Roof is safety from the elements, craft turning into culture. From the most basic fire-

place and metal tools rises carpentry and the delicate craftsmanship needed to shape the living world into a permanent shelter and safe environment. The roof is the most basic shelter turned into a home, the beginning of craft and culture disparate from the raw metallic survival of metal and earth working.

The Enclosure is enclosing and enveloping, love and belonging turning a shelter into a home.

Delicacy and sensitivity develop under the roof of shelter and community. Textile and weaving create comfort, culture, and art where there was once only survival and the constant drive for safety. People are brought together not out of necessity or survival but out of companionship and belonging, creating for others instead of for the daily existence of oneself.

The Mound is moving the very earth and elements to your command, shaping reality and turning

the world into empires and civilizations. From the shelters and communities drawn together by architecture, human potential and effort is combined in a previously unimaginable way to shape the very fabric of the world to move earth and change the topography and nature of the ecosystem around us. The mound is creation and life on the most primitive level building and ascending past settlement into the world spanning human race we see today.

But outside the realm of survival, what about the non-essential? What about play? What about

the unquantifiable aspects of the human experience that make us human? What exists outside primal motivation?

THE FOUR ELEMENTS OF ARCHITECTURE GOTTFRIED SEMPER

HEARTH ROOF ENCLOSURE

MOUND 50

02 Literature Review

“THE FIRST SIGN OF SETTLEMENT AND REST AFTER THE HUNT, THE BATTLE, AND WANDERING IN THE DESERT IS TODAY, AS WHEN THE FIRST MEN LOST PARADISE, THE SETTING UP OF THE FIREPLACE AND THE LIGHTING OF THE REVIVING, WARMING, AND FOOD PREPARING FLAME. AROUND THE HEARTH THE FIRST GROUPS FORMED: AROUND THE HEARTH THE FIRST GROUPS ASSEMBLED; AROUND IT THE FIRST ALLIANCES FORMED; AROUND IT THE FIRST RUDE RELIGIOUS CONCEPTS WERE PUT INTO THE CUSTOMS OF A CULT... THROUGHOUT ALL PHASES OF SOCIETY THE HEARTH FORMED THAT SACRED FOCUS AROUND WHICH TOOK ORDER AND SHAPE. IT IS THE FIRST AND MOST IMPORTANT ELEMENT OF ARCHITECTURE. AROUND IT WERE GROUPED THE OTHER THREE ELEMENTS: THE ROOF, THE ENCLOSURE, AND THE MOUND. THE PROTECTING NEGATIONS OR DEFENDERS OF THE HEARTHS FLAME AGAINST THREE HOSTILE ELEMENTS OF NATURE”-GOTTFRIED SEMPER

Identify quantitative and qualitative elements of behaviors that need to be incentivized

2 Design/Brainstorm/World Build Shell for Graphic Elements of Game

Build Narrative Structure/Decision Tree Raw Coding and Game Design

4 Implementation and Play Testing

02 Literature Review

02-3 Jane McGonigal

private Angry birds

sudoko

skyrim sim city

final fantasy fallout 4 half life bioshock

no man`s sky

halo tetris

grand theft san andreas fallout 76

super mario

linear

open pubg

starcraft call of duty multiplayer

red dead redemption

Farmville

grand theft auto V

pokemon go settlers of catan chess

world of warcraft

Social

minecraft

02 Literature Review

02-3 Reality is Broken: Why Games make us better and how they can change the world by

Jane McGonigal

THE FOUR DEFINING TRAITS OF A GAME

GOAL

RULES FEEDBACK SYSTEM VOLUNTARY PARTICIPATION

WORDS BY JANE MCGONIGAL 56

before proceeding to a thorough examination of the usage of aforementioned elements in non-virtual settings and the socially beneficial outcomes. McGonigal’s core emphasis revolves around the dis-

02 Literature Review

This book provides an explanation of alternate reality games and game design elements as a whole

solution of the “games as escapist fantasy” narrative and instead focusing attention on the subversion of these very game mechanics to “make the world a better place.” The book begins with a step by step break down and analysis of game design principles such as flow and failure states and their function in manipulating player behavior towards certain intended outcomes and away from others. In creating virtual environments, game designers employ various social, psychological, and neurological elements to keep in-world elements engaging, challenging, and rewarding. These elements in turn program and educate certain principles in players through psychological conditioning, the release of certain neuro-chemicals, and various in-game elements. The book continues this delve into the neurological with an examination of the psychological and biological principles that make humans “happy” including these self-same neuro-chemicals and responses. Essentially, if games and gamified elements can replicate processes that trigger and train certain biological and neurological components can these same mechanisms then not be used in real world environments to achieve congruous results? The book exemplifies this application through an investigation into alternate reality games, games which make use of gamified elements to harness the collective manpower of thousands to accomplish massive socially beneficial projects. The book juxtaposes psychological research isolating specific triggers that induce happiness alongside real-world examples of these tactics used in ways that transform this self-interest into something that will make our lives and the lives of others better. McGonigal defines these alternate-reality games as “anti-escapist games:” games that are played out in a real-world context that improve our lives. These self-same lessons can then be utilized outside of just gaming and game design to be implemented in a variety of other fields including but not limited to architecture.

02-4 Fun Palaces

02 Literature Review

This program demonstrates the feasibility of community involvement and engagement in utilizing entertainment-based principles to accomplish larger societal good. Based on the work of architect Cedric Price the idea of a “Fun Palace” emerged in the late 1950’s and early 1960’s as a sort of “university of the streets” and “a laboratory of fun.” Fun Palaces served as a modification of the ubiquitous English Pleasure Gardens, open green spaces open to the public for recreation and entertainment, common throughout Britain. Pleasure Gardens differed from normal parks or green spaces in that they serve as community hubs providing venues for entertainment such as menageries, concert halls, and amusement park rides. Taking the idea of the English Pleasure Garden and making the goal inclusivity and education, Fun Palaces are grass-root community workshops, events, and spaces held annually to encourage arts, science, craft, tech, etc.. While Pleasure Gardens and other public spaces often bar certain communities due to financial or class-related restrains, Fun Palaces exist with a focus on inclusivity to all ages, creeds, and backgrounds. Fun Palace projects are made with little to no budget and include anything from skill-based learning exhibitions to cultural demonstrations to collective volunteer work. The Fun Palace project serves as an existing model for the use of gamified elements in educating and bettering a community.

03 Methodology & Criteria

03-1 Gamification 03-2 Choice 03-3 Storytelling

“HIERARCHY OF GAME ELEMENTS”

“The Dynamics”

“The mechanics”

“The components”

03 Methodology & Criteria

03-1 Gamification

Analog

-Immersive Imagined environment -Physical Tools in story-telling/ gameplay -Group/In-person interaction driven game play

+Socialization Elements +Competitive Behavioral Functions +World Building

-Immersive Computer generated environment -Digital Tools in story-telling/ gameplay -Virtual interaction and game play

Digital

03 Methodology & Criteria

Gamification is defined as the utilization of design and incentive focused elements normally associated with game play in an outside setting in order to achieve congruous results. Gamification incorporates ideas from social psychology, human behavioral condition, and environmental design to encourage and discourage certain behavioral triggers and mechanisms. Examining and analyzing the impact, success, and incorporation of gamification in a variety of fields, the thesis then adopts the aforementioned elements to create an architectural system that benefits from altered incentive models and socially conscious design.

GOOD BALANCE OF CHALLENGE & REWARD EXCELLENT SOUND & MUSIC

COMPELLING NARRATIVE

MEMORABLE CHARACTERS

FUN GAMEPLAY CAPTIVATING WORLDS

ELEMENTS OF GOOD GAME DESIGN

GREAT CONTROLS SOLID LEVEL DESIGN

AN INTERESTING THEME & VISUAL STYLE

AN ENTERTAINING STORY

03 Methodology & Criteria

03-2 Choice

03 Methodology & Criteria

We can incorporate aspects of behavioral psychology and game theory in conjunction with choice in game design to alter the scale, density, and intensity of choices and their consequences to create different feedback loops and experiences for the participants. Player choice in games can be defined under a variety of different categories each serving a different function in game. Binary, tertiary, absolute choice, as well as illusion of choice all create different outcomes. The concept of choice isn’t linear but instead a labyrinth of choice consisting of positive and negative feedback loops and infinite choices.

Memory of choice is a key component both in the player’s mind and within

the game’s memory. A history of choices and consequences is the foundation of incentive models and serves as a simulation of nature of reality.

BINARY CHOICE (“RED PILL”/ “BLUE PILL”)

03 Methodology & Criteria

SPLITTING PATH (DECISION TREES “FORK IN THE ROAD”)

Absolute Choice (Meaninglessness of choice)

03 Methodology & Criteria

INFINITE CHOICES (ADAPTIVE ALGORITHIM)

“lABYRINTH OF CHOICE”

03 Methodology & Criteria

PROBABILITY TREE

% % % %

% %

% % % % % %

Visual, auditory, virtual, narrative, written, contextual, historical

LANGUAGES

Narrative is the creative shell that holds the project together and one type of incentive hook that keeps players interested and invested. The story of a game creates an immersive almost physical environment for the player to live and inhabit, thus making it seem real and convincing them to treat the virtual world with the same sort of seriousness and consequences as the real one

STORYTELLING

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GAMIFICATION

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03 Methodology & Criteria

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YCLE C H C R A SE

DESIGN

Gamification Noun the application of typical elements of game playing (e.g. point scoring, competition with others, rules of play) to other areas of activity, typically as an online marketing technique to encourage engagement with a product or service.

GgOALS

DEF.

GAMIFICATION

-individuals on the threat of urban isolation and routine -on the history of games and the various components of game design

INFORM EDUCATE PERSUADE ADVOCATE ENTERTAIN

- individuals to explore local environments and appreciate historical architecture -for the use of gamification and design in solving societal issues -through a gamified system full of activities and mini-games bringing all these elements together

DEF. TYPES OF DESIGN

Design Noun 1.a plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made. 2. an arrangement of lines or shapes created to form a pattern or decoration. verb 1. decide upon the look and functioning of (a building, garment, or other object), by making a detailed drawing of it.

03 Methodology & Criteria

DESIGN

Perception Games are not merely mindless entertainment but valuable and effective tools for creating real societal change Types of Design Game Design = history, components, functionality, graphics, narrative Narrative Design = creating a cohesive, immersive environment for the game and players to interact in ARG Design = creation of real life puzzles, pathways, and reality layering Incentive Design = implementation of incentives to move player behavior in intended directions Consequence Design = using failure states

implementation of consequences to move player behavior away

Mental Health

Urban loneliness

Social Anxiety

Lack of Empathy

Lack of Community

Lack of Resources

Incentive Models

Human Psychology

Game Design

03 Methodology & Criteria

Defining

Incentive Models/ Motivational

Psychology

Public Health

Game Theory (Stats)

03 Methodology & Criteria

Discover

Gamified incentive focused game that encourages social elements and can be utilized quantitatively to combat aspects of mental illness Reward and motivation psychology along with game design can be incorporated to stimulate empathy/understanding within oneâ&#x20AC;&#x2122;s own community,

03 Methodology & Criteria

Create

Play Testing

Prototype Live Game

Service concepts

Design Web

Programming

Graphic Design/ Game Design

Distribution

Marketing/Game Design Social work/Public Health/Government

03 Methodology & Criteria

Implement

ORAL TRADITION

WRITTEN TRADITION

mes TECHNOLOGY AND MEDIA 92

03 Methodology & Criteria

03-3 Storytelling

03 Methodology & Criteria

The stories we tell shape the world we inhabit.

Hearth, the forge of ideas and imagination,

Roof, the stories as safety and warnings against the outside world,

Enclosure, writing safe from the elements, recording storing and sharing the stories of the past without the need for physical proximity

Mound, advancement of the art form of storytelling above just a private tribal medium into a widespread cultural message, changing reality and world building to create unimagined depths of story telling

03-3 Origins of Storytelling

al gatherings to tell stories. The first stories were purely oral passed down for hundreds of years by word of mouth, persisting even today as legends and myths. From the Greek Odyssey, to Grimm’s Fairy Tales, to the Bible, oral storytelling existed to teach morals and life-saving lessons, and explain natural phenomena like the divine right of kings and the movement of the sun.

03 Methodology & Criteria

Before the invention of the very concept of the written word, people gathered around fires and trib-

Beginning with cave-paintings, and expanding into pictograms and hieroglyphs, and finally culminating in the printing press and the invention of paper, written storytelling allowed stories to evolve and grow past the reach of just word of mouth. The written word has grown from the first penny dreadful stories and the first novels (Gulliver’s Travels, Tale of Genji, etc..) to the best selling classics and titans of literature we enjoy today. The written word allowed stories to entertain wider audiences, document history and explore worlds, as well as teach philosophical and social lessons.

In the current century, digital story telling takes advantage of multi and mixed media to allow storytelling to evolve into the realms of the visual, auditory, and beyond. Inhabiting multiple sense at once, digital stories reach a much wider audience told for not only entertainment but greater actualization and fulfillment exploring cultures, concepts, and worlds. Star Wars, The Last of Us, Don McLean’s American Pie, Spider-man, DND

A painting exists as a static image, novels and poems are trapped on the page, movies add dimensions of sound and visual storytelling but games are an interactive accessible art form. Autonomy and decision making is 100% in the hands of the individual. Games take the social elements of oral story telling, the rich narrative tradition of the written word, and all the advancements and interaction of digital story telling and utilize them to create an art form that is accessible, sociable, and interactive.

Games speak to something deeper than even that. Games simulate Maslow’s needs by creating environments where players must fight for survival before achieving enlightenment and actualization through what they are able to create. Games are simultaneously the escapist simulation of play and the raw necessities of existential motivation

ORAL STORY TELLING

ORAL STORYTELLING BEFORE THE INVENTION OF THE VERY CONCEPT OF THE WRITTEN WORD,

PERSISTING EVEN TODAY AS LEGENDS AND MYTHS. GREEK ODYSSEY, MYTHS AND LEGENDS, GRIMâ&#x20AC;&#x2122;S FAIRY TALES, THE BIBLE

PURPOSE : LEARNING MORALS AND LIFE-SAVING LESSONS, STORIES TOLD TO REINFORCE POWER STRUCTURES AND EXPLAIN NATURAL PHENOMENA LIKE THE DIVINE RIGHT OF KINGS AND THE MOVEMENT OF THE SUN

PEOPLE GATHERED AROUND FIRES AND TRIBAL GATHERINGS TO TELL STORIES. THE FIRST STORIES WERE PURELY ORAL PASSED DOWN FOR HUNDREDS OF YEARS BY WORD OF MOUTH,

03 Methodology & Criteria

MASLOWâ&#x20AC;&#x2122;S HIERARCHY OF NEEDS ALL HUMAN BEINGS SHARE UNIFIED NEEDS TO BE SATIFIED, SELF-FULFILLED, AND WELL-BALANCED 1. PHYSICAL SURVIVAL NEEDS FOOD, WATER, SHELTER, OXYGEN 2. PHYSICAL SAFETY NEEDS NEED TO FEEL SAFE FROM DANGER AND THREATS, TO BE FREE FROM FEAR 3. LOVE AND BELONGING NEEDS NEED FOR LOVE, AFFECTION, AND BELONGING HUMANS ARE SOCIAL ANIMALS AND REQUIRE FAMILY, INTIMACY, ACCEPTANCE, AND UNDERSTANDING 4. SELF-ESTEEM NEEDS NEED TO FEEL OF VALUE, SELF-RESPECT, AND RESPECT FROM PEERS NEED FOR CONFIDENCE, ACCOMPLISHMENT, FREEDOM, AND RECOGNITION 5. SELF-FULFILLED NEEDS NEED TO RISE ABOVE AND FULFILL ALL ASPECTS PURPOSE, COMPLETENESS, UNITY, AND UNDERSTANDING

WRITTEN STORYTELLING

BEGINNING WITH CAVE-PAINTINGS,

AND EXPANDING INTO PICTOGRAMS AND HIEROGLYPHS,

AND FINALLY CULMINATING IN THE PRINTING PRESS AND THE INVENTION OF PAPER, WRITTEN STORYTELLING ALLOWED STORIES TO EVOLVE AND GROW PAST THE REACH OF JUST WORD OF MOUTH. PENNY DREADFULS AND THE FIRST NOVELS (GULLIVERâ&#x20AC;&#x2122;S TRAVELS, TALE OF GENJI, ETC..)

STORIES TO ENTERTAIN THE WIDER AUDIENCE, DOCUMENT HISTORY AND EXPLORE WORLDS, TEACH PHILOSOPHICAL AND SOCIAL LESSONS

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MULTI AND MIXED MEDIA

03 Methodology & Criteria

DIGITAL STORYTELLING

ALLOWS STORYTELLING TO EVOLVE INTO THE VISUAL, AUDITORY, AND BEYOND STORIES REACH A MUCH WIDER AUDIENCE TOLD FOR NOT ONLY ENTERTAINMENT

BUT GREATER ACTUALIZATION AND FULFILLMENT EXPLORING CULTURES, CONCEPTS, AND WORLDS STAR WARS, THE LAST OF US, DON MCLEANâ&#x20AC;&#x2122;S AMERICAN PIE, SPIDER-MAN, DND MASLOW PHYSIOLOGICAL NEEDS, SAFETY, LOVE AND BELONGING, SELF-ACTUALIZATION FOUR ELEMENTS OF ARCHITECTURE, HEARTH, ROOF, ENCLOSURE, MOUND

HEARTH, THE HOME OF ORAL STORYTELLING, SYMBOL OF SAFETY AND PHYSIOLOGICAL NEEDS LIKE HUNGER AND WARMTH, THE FORGE OF IDEAS AND IMAGINATION,

STORIES AS SAFETY AND WARNINGS AGAINST THE OUTSIDE WORLD, ROOF, SAFETY FROM THE ELEMENTS, CRAFT TURNING INTO CULTURE, WRITING SAFE FROM THE ELEMENTS

RECORDING STORING AND SHARING THE STORIES OF THE PAST WITHOUT THE NEED FOR PHYSICAL PROXIMITY ENCLOSURE, ENCLOSING AND ENVELOPING, LOVE AND BELONGING TURNING A SHELTER INTO A HOME, ADVANCEMENT OF THE ART FORM OF STORYTELLING ABOVE JUST A PRIVATE TRIBAL MEDIUM INTO A WIDESPREAD CULTURAL MESSAGE MOUND, MOVING THE VERY EARTH AND ELEMENTS TO YOUR COMMAND, CHANGING REALITY AND WORLD BUILDING TO CREATE UNIMAGINED DEPTHS OF STORY TELLING

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04 Precedent

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04 Precedent

04-1 Kintsugi 04-2 Wabi-sabi 04-3 Shibui/Japanese Joinery 04-4 Maximalism 04-5 Minimalism 04-6 Alfred Loos 04-7 Sagrada Familia 04-8 MC Escher

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04-1 Kintsugi

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04 Precedent In the same vein of minimalist design, Kintsugi is a type of Japanese ceramic joinery that grew from a simple repair technique to an aesthetic philosophy. Meaning “golden repair” or “golden joinery,” Kintsugi is the art of repairing broken pottery through metallic, usually precious metal-infused lacquer. Rather than treating broken ceramics as trash or an imperfect object to be cobbled back together into some semblance of what it once was, Kintsugi preaches that an object does not end its life for being damaged but instead has dignity and beauty in its acceptance of its flaws. Breakage doesn’t mean that something is lost and useless. An object does not end its life for being damaged but instead grows more beautiful through its imperfections. Instead of hiding the cracks and flaws Kintsugi celebrates and highlights the broken as purposeful and part of the process. Similar to wabi-sabi and many other Japanese aesthetic and philosophical principles, the act of repairing the crack with gold is an acceptance of the imperfect, symbolizing fate and acceptance of change and reflecting minimalist in its simple practicality. Kintsugi reflects the marriage of the incompatible seen in Loos’s modernism and the self-actualization meditations in the Semper/Maslow connection. In the thesis itself, the concept of play learns from Kintsugi, with each individual path and activity shows how there are no mistakes, no wrong way of playing or creating.

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04-2 Wabi-sabi

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04 Precedent

Wabi-sabi is the Japanese aesthetic concept of accepting the imperfect, incomplete, and impermanent.â&#x20AC;? Originating from Buddhist and Zen ideas of existence and austerity, Wabi-sabi celebrates the lack of permanence and perfection in the everyday world. Objects created in the spirit of wabi-sabi are rustic, simple, and elegant in an understated way. Wabi-sabi is flawed beauty: rough patterned pottery, art that is cracked and broken. By celebrating the broken and imperfect, wabi-sabi encourages meditation on the constant flux and entropy of the universe, the acceptance of the unpredictable nature of life, and the way we grow as a result. Browns, rust, and uneven surfaces make up wabi-sabi architecture and craft with buildings and works being related or rooted in the natural world, not in some manicured cultivated garden but in the rough wilderness. Through the thesisâ&#x20AC;&#x2122;s AR toolkit, wabi-sabi inspires creating structures in the world around us instead of in sterile structured environments, failing upwards and turning mistakes into inventions and new styles.

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04-3 Shibui/Japanese Joinery

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04 Precedent

In a time when ornamentation and excess governed the sphere of western cultural thought, the aesthetic philosophy and work of much of the rest of the world remained minimalist and Spartan, celebrating the power of space and the simplicity of forms, especially the work of Japanese artisans. Japanese aesthetics and architecture reveled in their own world view, one rooted in the subtle and unobtrusive. Shibui is a Japanese principle of the beauty found in the everyday, simplistic, and seemingly rough world around us. Objects and works under this idea appear simple on the surface but when examined further reveal an extraordinary amount of care, craftsmanship, and detail that belays their plain outward appearance. In that way, the object represent order, balance, and the beauty in the mundane making the observer appreciate a new sense of splendor that only grows with meditation and further appreciation. These principles extend past objects and art into Japanese architecture which is characterized through the minimalist joinery approach. Japanese joinery is a centuries old practice of constructing great structures without the use of nails, glue, or advanced machinery instead reveling in the simple geometry and connection of forms. Japanese carpenters use simple wood saws and chisels to craft wood into puzzle box-esque joints and connections that utilize rustic materials and deceptively simple designs that belay a hidden complexity. Entire temples are built without mortar or modern equipment, much like the Incanâ&#x20AC;&#x2122;s seamless stonework, a great understanding of the material and its principles needs to be mastered in order to produce the minimalist work.

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04-4 Maximalism

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04 Precedent

In direct opposition and reaction to the stark absence and geometric forms of minimalism, Maximalism is an aesthetic of excess defined by visual complexity and ornamentation. Maximalism is opulence and complexity exemplified and exhibited through fantasy, luxury, and sensuality of detail and substance. Maximalism is richness and excess, a hedonistic celebration of life and possibility. As a style, maximalism lives in decoration and ornamentation, defined by decadent and detailed patterns, fabrics, colors, and shapes. In contrast to the serene absence of minimalism, the style revels in visual excitement and human potential expressing oneâ&#x20AC;&#x2122;s purpose and self-acutalization.

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04 Precedent An aesthetic, architectural, and artistic style that emerged in the 1920â&#x20AC;&#x2122;s, minimalism was born from the basic shapes and forms of Cubism, Surrealism, and modernism. As the representation of exact reality grew simpler with the advancement of technology, representation and the concept of forms and the metaphysical grew in its place. Minimalism is a return to the bare essentials revealing the true essence of architecture masked by excess and clutter. Minimalism is simplicity and zen, not void but careful and purposeful use of space. A creative philosophy with an understanding of the weight of creation, the style produces with a definite vision exhibited in simple clean lines and shapes. The forms and geometry representing order, and plain materials and repetition utilized as a device to bring a sense of unity. In the way mankind carves out order and shelter from his environment, minimalism does the same, attempting to make sense through the purposeful act of creation.

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04-6 Alfred Loos

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04 Precedent Alfred Loos was an Austrian architect and architectural theorist of the early 1900’s who galvanized the birth of modernism through his understanding and detailing of aesthetics and craftsmanship. A marriage of two seemingly disparate ideas and philosophies, Loos’s architecture is a modernist style combining the unmixable combination of minimalism and maximalism into a new emulsion of apparently incompatible creeds. On the exterior, a Loos structure is a model of minimalist Spartan design with smooth and simple surfaces. In Loos’s eyes, a craftsman’s time and work is sacred and to waste it with meaningless unappreciated ornamentation is an insult. By making the purposeful choice to go without, Loos theorizes that the craft and culture advances. However, within the interior Loos marries minimalism with maximalism through design work that revels in the fine and first rate. Loos’s structures on the inside are maximalist not in excessive ornamentation but fine craftsmanship, expensive materials, and great care in pattern work and use of space. In this way, Loos’s modernist vision shows how seemingly disparate incompatible elements can be united and modified into one’s own individual style, a concept explored through the playful experimentation encouraged by the thesis’s AR toolkit.

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a fascinating history. Originally devised as a Spanish answer to many of the Italian Gothic cathedrals of the time, the Sagrada soon came under the supervision of Antoni Gaudi, an influential Spanish architect. Under

04 Precedent

Gaudi’s Sagrada Familia is a celebration of maximalism. The Sagrada Familia is a unique Spanish cathedral with

Gaudi’s vision the Sagrada moved from the traditional Gothic elements to include various modernist, surrealist, and Art Nouveau elements becoming a building unlike any other. The Sagrada takes the traditional elements of a Gothic cathedral and adds modern and Spanish elements resulting in a structure that despite remaining unfinished still continues to astonish as a religious monument and UNESCO heritage site. Some of the notable facets of the building include its intricate facades, the forest of columns within the interior, and the many detailed spires that rise from its ceiling. The building has survived the Spanish Civil War, attacks from Catalan anarchists, and a construction period spanning decades in order to become an imposing and controversial structure that both divides and unites people of all backgrounds. Whether it be appreciation of its artistic and architectural heritage or a passionate antagonism towards its gaudy design and impossible construction, the Sagrada will continue on as a monument to Gaudi as well as Spanish architectural heritage

The design of a building is The Sagrada Familia utilizes Gothic, Art Nouveau, and modernist (almost surrealist) elements in its construction and design creating a structure unlike any other in the world. Replicating the façade of a traditional Spanish cathedral but incorporating various modern design elements, the Sagrada is the culmination of Gaudi’s influence combining Spanish Gothic spires and buttresses with surrealist-looking geometric ornamentations. The initial design of the cathedral begins as a traditionally Spanish Gothic revival design with crypts, vaulting, and spires replicating the numerous old European churches and religious sites. However, over the years under the vision of various different artists and architects from Gaudi to Bonet the site has taken on various other features and elements from the decades of other styles and movements that have occurred since the Sagrada’s initial inception. The Sagrada has incorporated elements from Spanish Gothic, Catalan Modernism, Art Nouveau, and Surrealism into its design with traditional religions elements like spires and facades taking on new life through modern design. The exterior consists of three massive facades (the Nativity, the Passion, and the Glory) which depict religious scenes of visions of life, death, and the world beyond through intricate sculpture. The interior consists of the traditional cross shaped design with a number of tall spires, towers, and chapels. The infamous columns that litter the interior are meant to not only stabilize the structure but also to provide geometric juxtaposition with the entirety of the Sagrada’s interior consisting of rich ornamentation and detail work.

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04 Precedent Maurits Cornelis Escher, better known as MC Escher to the greater world, was a modern Dutch graphic design artist famous for his endlessly complex geometric designs and striking woodcuts and lithographs. Escherâ&#x20AC;&#x2122;s work is iconic blending mathematics, geometry, and the natural world into mesmerizing realities of surreal designs and impossible infinite patterns. The seemingly endless geometric forms and interconnected nature of Escherâ&#x20AC;&#x2122;s labyrinthian designs are reminiscent of an architectâ&#x20AC;&#x2122;s most fanciful dreams accomplishing impossible structures and buildings layered endlessly. Escher drew inspiration from geometry, crystallography, calculus, and biology in order to explore concepts of infinity, symmetry, tessellation, and reflection. While many other artists played more in the realm of the conceptual and metaphorical, Escher explores the logical quantitative aspects of the human experience, creating art that illustrates the hard to describe beauty seen in the perfect ratios and logical precision of the world around us. Just as there is beauty in a woodland scene or a babbling brook, there is also an unappreciated brilliance in the golden ratios and fractals hidden in the world around us. Escher is a great artistic and aesthetic influence of the thesis, borrowing many of his concepts of reality-bending geometry in designing the objects and figures utilized in the toolbox.

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X2 OR MORE!

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helpful

helpful internal

internal

STRENGTHS

+interesting, multi-disciplinary +historical narrative +engaging activities +various multi-media tools/mini

+interesting, multi-disciplinary concept +historical narrative +engaging activities +various multi-media tools/mini-games

harmf

WEAKN

external

OPPORTUNITIES

+ability to grow as a social +possible partnership with +AR/VR/ARG +incentivizing +physical +potential to reduce urba +modular learning tool +in-game

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06 Assessment and conclusion

y concept

i-games

harmful

WEAKNESSES

activity that could be fun for all ages various business/social organizations expansion possibility exploration/socialization l exercise incentives an loneliness/mental health disorders l utilized in variety of contexts e community building

+possibility of outside elements +unpredictable player/outside behavior +immersion breaking +difficulty of scaling up +needs further development/coding +needs greater player choice/socialization +need constant development of new mini-games/ activities +safety when interacting with outside world +weather/atmospheric conditions +accessibility to all age groups

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harmful

WEAKNESSES

+ +n

OPPORTUNITIES

+ability to grow as a social activity that could be fun for all ages +possible partnership with various business/social organizations +AR/VR/ARG expansion possibility +incentivizing exploration/socialization +physical exercise incentives +potential to reduce urban loneliness/mental health disorders +modular learning tool utilized in variety of contexts +in-game community building

THREATS

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06 Assessment and conclusion

+safety when interacting with outside world +weather/atmospheric conditions +accessibility to all age groups

ocial activity that could be fun for all ages with various business/social organizations R/ARG expansion possibility izing exploration/socialization sical exercise incentives urban loneliness/mental health disorders g tool utilized in variety of contexts -game community building

+scalability +outliers and unpredictable player behavior -time commitment +computer/system errors and glitches +toxicity in player base +competition in gaming space +competition from better equipped firms +maintenance and management

THREATS

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00 How it all started

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00 How it all started

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06-1 Appendices

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06-1 Appendices

References

Images

Warburton, T. 2001, “Sector V Treehouse from Codename:

Kids Next Door.” Season 1 Episode 1, Cartoon Network

Warburton, T. 2001, “Kids Next Door Arctic Base from

Codename: Kids Next Door.” Season 3 Episode 31, Cartoon Network

Warburton, T. 2001, “Kids Next Door Moonbase from Code-

name: Kids Next Do.”

Season 1 Episode 12, Cartoon Network

Warburton, T. 2001, “Kids Next Door Seriously Cool Museum

of Artifacts and Stuff from Codename: Kids Next Door.” Season 6 Episode M1, Cartoon Network

Ward, P. 2007, “Finn and Jake’s Tree House from Adventure

Time,” Season 1 Episode 1, Cartoon Network

Miyazaki, H. 2004, “Howl’s Moving Castle from Howl’s Mov-

ing Castle,” Studio Ghibli

297

Herron, R. 1964, “Cities: Moving, Master Vehicle-Habita-

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Geisel, T. “Dr. Seuss, “Oh the Places you’ll Go,”

https://architizer.com/blog/practice/details/the-architecture-of-dr-seuss/

Tea Bowl fixed in the Kintsugi method, (n.d.) public do-

main (Wikimedia)

10.

Barton, S. 2013. “Wabi-Sabi,” Wabi-Sabi: Art Workshop

11.

Seike, K. 1977. “The Art of Japanese Joinery” Shambhala

Publications

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Loos, A. 1922. “Private Spaces” CaixaForum Madrid

13.

Gaudi, A. 1882. “Sagrada Familia” Barcelona

14.

Escher, M. 1928. “Tower of Babel” Woodcut

15.

Escher, M. 1953. “Relativity” Lithograph

298

Maslow, A. (1943). Theory of Human Motivation. General

06-1 Appendices

Literature

Press

Semper, G. (1851). The Four Elements of Architecture.

Trans. Harry F. Mullgrave and Wolfgang Hermann

McGonigal, J. (2010). Reality is Broken: Why Games make

us better and how they change the world, The Penguin press

Hardingham, Samantha (2016) Cedric Price Works 1952â&#x20AC;&#x201C;2003:

A Forward-Minded Retrospective a two-volume anthology, co-published by the Architectural Association (AA) and the Canadian Centre for Architecture (CCA)

Holland, J. (2008). Flickwerk The Aesthetics of Mended

Japanese Ceramics, Cornell University

Tierney, Lennox (1999), Wabi Sabi, Layton, Utah: Gibbs

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Hussain, M. (2006), The Pursuit of Comparative Aesthet-

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Nakahara, Y. (1995) The Complete Japanese Joinery. Hart-

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Pincus-Witten, Robert (1987). Postminimalism into Maxi-

malism: American Art 1966â&#x20AC;&#x201C;86. Ann Arbor: UMI Research Press.

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Cerver, Francisco Asencio (1997). The Architecture of Mini-

malism. New York, NY: Arco.

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Gravagnuolo, Benedetto (1995). Adolf Loos, Theory and

Works. London: Art Data.

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Nonell, Juan Bassegoda (2004). Antonio Gaudi: Master Archi-

tect. New York: Abbeville Press.

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Ernst, Bruno; Escher, M. C. (1995). The Magic Mirror of M.

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