Post-humanism Landscape

ADVISOR: CASEY REHM

YIFAN WANG

POST-HUMANISM LANDSCAPE

SCI-ARC THESIS

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CONTENTS

STATEMENT GARDEN & LANDSCAPE AESTHETIC & CASE STUDY POST-HUMANISM TRANSFORMATION

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05 06 18 50 64

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STATEMENT

The thesis is an aesthetic exercise of disciplinary problem, showing Either post-humanism landscape or deep fake landscaping. On the one hand, garden is one kind of problem in relationship to architecture. There’s a long history of the garden, different ideas about what the garden’s role is within the architectural space and the urban environment. I want to rethink the aesthetic problem of the landscape in the diversification of nature. On the other hand, research on works under visual effects and programming language design, now days, the definition of aesthetic has eroded or transformed its precision that the idea of being outside of it is very difficult now.

Trying to define a new hybridity of nature and post-nature and a synthetic landscape that contains within it existing flora and a new ecology of post-humanism. By creating the flora which evolve not out of the aesthetic preferences of human (the humanist garden) but out of the internal logics of a new code, the thesis is replacing processes of human aesthetic selection with a new post-human aesthetic.

By scanning and modeling for things that are not part of a common building (such as some kind of organism creature or machine) and using a variety of programming languages to create a series of spatial structures, geometric languages, mechanism principles, process pathways, etc., we can explore the connection between them and our way of life. These will be used as a tool library to compose the design.

There are 3 existing drivers for ecological diversity: 1. fitness for purpose 2. sexual selection 3. human aesthetic preference How will these drivers change in a new post-human aesthetic? Who these designs will ultimately serve? For what kind of the forms whom do they exist?

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GARDEN & LANDSCAPE

Garden is one kind of problem in relationship to architecture. There’s the kind of history of the garden, different ideas about what the garden’s role is within the architectural space or within the urban environment.

Kind of rethink the aesthetic problem of the garden, through the project, through kind of artificial vegetation.

I think that it’s totally fair for it to remain in the kind of realm of the aesthetic project.

Gardens may exhibit structural enhancements including statuary, follies, pergolas, trellises, stumperies, dry creek beds and water features such as fountains, ponds (with or without fish), waterfalls or creeks. Some gardens are for ornamental purposes only, while some gardens also produce food crops, sometimes in separate areas, or sometimes intermixed with the ornamental plants. Food-producing gardens are distinguished from farms by their smaller scale, more labor-intensive methods, and their purpose (enjoyment of a hobby or self-sustenance rather than producing for sale). Flower gardens combine plants of different heights, colors, textures, and fragrances to create interest and delight the senses.

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WANGSHI YUAN CHINESE GARDEN

This is a cross-section view of the Tiyunshi Garden in the Net Master’s Garden in Suzhou, China, which was drawn during my undergraduate period. The variety of flowers and trees are natural and interesting, which makes me sigh that this more random and less strict order is among them.

In fact, one of the common features of Suzhou gardens is meticulous. The owners of the past generations always seem to be reluctant to let go of the opportunity to create landscapes in every corner. People like me, who accept very weak images, walk through a room or walk through a corridor, and they always seem to know each other, but look back. Look, it’s different. The shape of each stone and the location of each plant are just right there.

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GARDEN & LANDSCAPE

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JAPANESE GARDEN

Japanese-style courtyards are divided into three categories: mountain-building courtyards, dry landscape gardens, and tea gardens. Tsukuba-tani is a miniature of natural scenery, including ponds, creeks, mountains, stones, trees, flowers, bridges. Natural landscapes are often miniatures of famous Chinese or Japanese landscapes, and the reason for the name Contains artificial mountains. The Dry Mountain and Water Garden is more well known. In the abstract way, natural landscapes are reconstructed through stones, gravel, sand, and even moss. They represent mountains, islands, boats, seas, and rivers, and are influenced by Zen. It’s impressive but not close. Often someone will rake out the lines with a rake. The tea house is built for the tea ceremony, including the tea house where the actual tea ceremony is held. It is designed according to the tea ceremony concept with a simple aesthetic sense.

Every landscape that contains these contents has been carefully created, with autumn trees, moss, and Shi Tingbu. In my understanding, Japanese-style courtyards are simple, detailed and exquisite gardens, which can reflect the characteristics of Japanese people. In different seasons, there are different charms of beauty.

Whether in a house or a temple.

The building and nature are both separated and connected, presenting an ambiguous relationship. The outer courtyard brings rich light changes to the interior of the building, and the walls are thin and light, becoming an abstract existence. And the change of time is perceived by people in the building. From early morning to dusk.

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GARDEN & LANDSCAPE

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ENGLISH LANDSCAPE GARDEN

Lin Yutang said: The ideal life of Datong is to live in the English countryside.

There are three important stages in the development of European gardens: from the Italian gardens of the 16th to 17th centuries to the French gardens of the 17th to 18th centuries; and the English gardens after the middle of the 18th century draw on the essence of Italian terrace gardens and French classical gardens.

Influenced by Chinese-style gardens, they formed their own school, forming the British natural landscape gardens emulated by Western countries.

For the British, both the royal family and the common people regard gardening as a symbol of their own taste and cultivation. These gardens reflect the identity and preferences of the owner and even the fashion trend at the time. They also reflect the unique climate characteristics of the locality. .

The park houses neoclassical buildings with strong Greek and Roman colors: the Temple of Apollo, the Temple of Flora, the Pantheon, and the Palladian Bridge. Although there are not too many small buildings, each one is just right. All the buildings are not straightforward, but hidden in the trees, occasionally exposing a corner, but rather moving.

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GARDEN & LANDSCAPE

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DROSERA JONI NIEMELÄ

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GARDEN & LANDSCAPE

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SEEDS JONI NIEMELÄ

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GARDEN & LANDSCAPE

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SEEDS JONI NIEMELÄ

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AESTHETIC & CASE STUDY

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VGS.GROW.STRCT SERIES & SKETCHES

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AESTHETIC & CASE STUDY TIM BORGMANN

VGS.GROW.STRCT SERIES & SKETCHES

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DESCRIPTION

AESTHETIC http://art.bt-3d.de/growstrct/index.html

The fragment series started as an approach to integrate more

Occum aut a conecum is deriandis magnit laut debitis pratis

dynamic processes into the workflow. By using different parti-

pratu imm ut a voluptam aut et ex evero con et apis sunt resedic

cle simulations techniques basic shapes were created and than

iatquo consendi nihilla core cum est is debit.

combined with hand modeled elements to enhance the dynamic tension or the overall feeling of the image. So they are some kind

Quiatem qui di occus, ut explis tis as ad et facid experia lupta

of frozen moments of a dynamic process. Again they can be seen

quidebit volorep e rorem sincte cusa volendelita voloreptiis a in

as a snapshot of the dialouge between the evolving image and me.

prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp oressunt untum faccusam essinci endaepudis experep ersperibea

Most of the images were created during 2005 and 2008 with Soft-

quatisi tatempo rporia quatiati aloimim.

image|XSI and Photoshop using a combination of dynamic processes/simulations and hand modeled elements.

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combined as triptychon // vg sys e + f 2018 basic shape E // sketches, testing different materials and backgrounds shape variations, sketches, testing different materials and backgrounds

AESTHETIC & CASE STUDY

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FRAGMENT. SERIES

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AESTHETIC & CASE STUDY TIM BORGMANN

FR AGMENT.SERIES

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DESCRIPTION

AESTHETIC http://art.bt-3d.de/fragment/index.html

The fragment series started as an approach to integrate more

Occum aut a conecum is deriandis magnit laut debitis pratis

dynamic processes into the workflow. By using different parti-

pratu imm ut a voluptam aut et ex evero con et apis sunt resedic

cle simulations techniques basic shapes were created and than

iatquo consendi nihilla core cum est is debit.

combined with hand modeled elements to enhance the dynamic tension or the overall feeling of the image. So they are some kind

Quiatem qui di occus, ut explis tis as ad et facid experia lupta

of frozen moments of a dynamic process. Again they can be seen

quidebit volorep e rorem sincte cusa volendelita voloreptiis a in

as a snapshot of the dialouge between the evolving image and me.

prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp oressunt untum faccusam essinci endaepudis experep ersperibea

Most of the images were created during 2005 and 2008 with Soft-

quatisi tatempo rporia quatiati aloimim.

image|XSI and Photoshop using a combination of dynamic processes/simulations and hand modeled elements.

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work.fragment.series

AESTHETIC & CASE STUDY

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DECOMPOSITION. SERIES

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AESTHETIC & CASE STUDY

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DECOMPOSITION. SERIES

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AESTHETIC & CASE STUDY TIM BORGMANN

DECOMPOSITION.SERIES

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DESCRIPTION

AESTHETIC http://art.bt-3d.de/decomposition/index.html

The fragment series started as an approach to integrate more

Occum aut a conecum is deriandis magnit laut debitis pratis

dynamic processes into the workflow. By using different parti-

pratu imm ut a voluptam aut et ex evero con et apis sunt resedic

cle simulations techniques basic shapes were created and than

iatquo consendi nihilla core cum est is debit.

combined with hand modeled elements to enhance the dynamic tension or the overall feeling of the image. So they are some kind

Quiatem qui di occus, ut explis tis as ad et facid experia lupta

of frozen moments of a dynamic process. Again they can be seen

quidebit volorep e rorem sincte cusa volendelita voloreptiis a in

as a snapshot of the dialouge between the evolving image and me.

prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp oressunt untum faccusam essinci endaepudis experep ersperibea

Most of the images were created during 2005 and 2008 with Soft-

quatisi tatempo rporia quatiati aloimim.

image|XSI and Photoshop using a combination of dynamic processes/simulations and hand modeled elements.

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work.decomposition. series

AESTHETIC & CASE STUDY

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CROSS.FLW

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AESTHETIC & CASE STUDY

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CROSS.FLW

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AESTHETIC & CASE STUDY TIM BORGMANN

CROSS.FLW

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DESCRIPTION

AESTHETIC http://art.bt-3d.de/crossflw/index.html

The fragment series started as an approach to integrate more

Occum aut a conecum is deriandis magnit laut debitis pratis

dynamic processes into the workflow. By using different parti-

pratu imm ut a voluptam aut et ex evero con et apis sunt resedic

cle simulations techniques basic shapes were created and than

iatquo consendi nihilla core cum est is debit.

combined with hand modeled elements to enhance the dynamic tension or the overall feeling of the image. So they are some kind

Quiatem qui di occus, ut explis tis as ad et facid experia lupta

of frozen moments of a dynamic process. Again they can be seen

quidebit volorep e rorem sincte cusa volendelita voloreptiis a in

as a snapshot of the dialouge between the evolving image and me.

prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp oressunt untum faccusam essinci endaepudis experep ersperibea

Most of the images were created during 2005 and 2008 with Soft-

quatisi tatempo rporia quatiati aloimim.

image|XSI and Photoshop using a combination of dynamic processes/simulations and hand modeled elements.

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work.cross.flw

AESTHETIC & CASE STUDY

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FRUITY

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AESTHETIC & CASE STUDY TIM BORGMANN

FRUIT Y

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DESCRIPTION

AESTHETIC https://www.behance.net/ gallery/85230585/fruity

With the theme fruity this was my participation for Node fest

Occum aut a conecum is deriandis magnit laut debitis pratis

2019 in Melbourne.

pratu imm ut a voluptam aut et ex evero con et apis sunt resedic iatquo consendi nihilla core cum est is debit.

Inspired by Constantine and Alice wonderland, my ideas for that Ident was to mix the dark side from Constantine with colourfull

Quiatem qui di occus, ut explis tis as ad et facid experia lupta

side from Alice wonderland.

quidebit volorep e rorem sincte cusa volendelita voloreptiis a in prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp

My roles:

oressunt untum faccusam essinci endaepudis experep ersperibea quatisi tatempo rporia quatiati aloimim.

Concept / animation

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AESTHETIC & CASE STUDY

Exploration of materials & Organic.

In botany, blossoms are the flowers of stone fruit trees and of some other plants with a similar appearance that flower profusely for a period of time in spring

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SPRING OUT DAVID PADILLA

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AESTHETIC & CASE STUDY

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SPRING OUT DAVID PADILLA

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POST-HUMANISM

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HORIZON ZERO DAWN CONCEPT ART

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POST-HUMANISM

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DJATLOV CRISTIANO RINALDI

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POST-HUMANISM

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EVA - A GIRL CRISTIANO RINALDI

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POST-HUMANISM

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ANAANOTHER NATURE CRISTIANO RINALDI

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POST-HUMANISM

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EVA - A GIRL CRISTIANO RINALDI

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POST-HUMANISM

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EVA - A GIRL CRISTIANO RINALDI

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POST-HUMANISM

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EVA - A GIRL CRISTIANO RINALDI

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POST-HUMANISM

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SUI_GENERIS

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POST-HUMANISM

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SUI_GENERIS

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TRANSFORMATION

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PLANTS PLAYING

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TRANSFORMATION

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PLANTS PLAYING

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TRANSFORMATION

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PLANTS PLAYING

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PLANTS PLAYING 01

PHYSARUM SLIM MOLD PT

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vector dir = fit01(rand(@ptnum), {-1,-1,-1}, {1,1,1}); v@dir = normalize(dir);

float turnangle = radians(chf(“Turn_Angle�)); float sensorangle = radians(chf(“Sensor_Angle�)); matrix3 sensorl = ident(); matrix3 sensorr = ident(); matrix3 sensoru = ident(); matrix3 sensord = ident(); matrix3 turnl = ident(); matrix3 turnr = ident(); matrix3 turnu = ident(); matrix3 turnd = ident(); rotate(sensorl, sensorangle, {0,1,0}); rotate(sensorr, -sensorangle, {0,1,0}); rotate(sensoru, sensorangle, {1,0,0}); rotate(sensord, -sensorangle, {1,0,0}); rotate(turnl, turnangle, {0,1,0}); rotate(turnr, -turnangle, {0,1,0}); rotate(turnu, turnangle, {1,0,0}); rotate(turnd, -turnangle, {1,0,0}); 3@sensorl = sensorl; 3@sensorr = sensorr; 3@sensoru = sensoru; 3@sensord = sensord; 3@turnl = turnl; 3@turnr = turnr; 3@turnu = turnu; 3@turnd = turnd;

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SCI-ARC THESIS