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Секция 4. Техническая эстетика и дизайна Section 4. Industrial art and design
UDC: 7.017.93- DOI: 10.29013/EJA-21-3-106-111
N. S. BRYZHACHENKO, 1
N. M. KOKHAN, 1 A. V. SKOROKHODOVA, 2 Ya. O. VERKHOVODOVA, 3
1 Sumy State Pedagogical University named after A. S. Makarenko, (Sumy, Ukraine) 2 O. M. Beketov National University of Urban Economy in Kharkiv, (Kharkiv, Ukraine) 3 Kharkiv State Academy of Design and Arts (Kharkiv, Ukraine)
THE KINETIC CONSTRUCTIONS IN THE CREATION OF AN ATTRACTIVE OBJECT-SPATIAL ENVIRONMENT
Abstract.
Objective: to consider the methods of implementation of innovative kinetic constructions that form expressive artistic effects and allow designers and architects to develop attractive space that can adapt to the demands of aesthetics, environmental friendliness, functionality, and energy efficiency in a harmonious interaction with the environment.
Methods: to study the problem of the formation of attractive object-spatial environment by the application of kinetic constructions, authors used the general theoretical methods (comparison, generalization, forecasting) and special methods of scientific research (compositional analysis, comparative analysis).
Results: the article focuses on the application of kinetic constructions in the organization of object-spatial environment for the creation of its visual attractiveness. The paper presents a classification of kinetic objects by materials of constituent elements, composition, artistic direction. Methods of introduction of kinetic constructions into the object-spatial environment are determined: 1) the application of small kinetic objects that create a compositional accent in space; 2) the implementation of large-scale kinetic constructions in the interior space of public buildings; 3) kinetic constructions in furniture design - creation of furniture-transformers; 4) the implementation of functional kinetic constructions into the interior - adaptation of the space to the user's requirements; 5) the equipment of the external surfaces of buildings with kinetic constructions; 6) total introduction of kinetic systems into the space of the urban environment.
Scientific novelty: for the first time, based on the presented methods of scientific research, the article discusses the methods of the formation of an attractive object-spatial environment through the implementation of different kinetic constructions.
Practical significance: the results of the article can be used in theoretical research in the field of modern trends and prognostic concepts for the implementation of innovative technologies in the design of environment, as well as
the study of "theatricalization" of urban space. The main conclusions can be used in teaching activities in the field of interior design and architecture.
Keywords: kinetic constructions, kinetic objects, object-spatial environment, interior design, architecture.
For citation: N. S. Bryzhachenko, N. M. Kokhan, A. V. Skorokhodova, Ya. O. Verkhovodova. The kinetic constructions in the creation of an attractive object-spatial environment // European Journal of Arts, 2021, №3. - P. 106-111. DOI: https://doi.org/10.29013/EJA-21-3-106-111
The global experience of architectural and interior design practice shows that visually attractive environment can be created by the implementation of various kinetic objects and constructions. They attract the attention of people due to the mobility of their constituent parts and the possibilities of transformation. Designers use kinetic constructions not only for the visual expressiveness of space, but also for creating additional functionality of the interior itself and for the objects that fill it. Kinetic systems underlie a variety of transformation mechanisms used in furniture design and the organization of interior space. However, in this article, we focused on those kinetic constructions that create visual appeal and are one of the elements of creating an expressive artistic image of the object-spatial environment.
The results ofthe research support the idea that kinetic objects, used in the organization ofthe object-spatial environment, classified by: 1) compositional construction (flat objects, three-dimensional forms and deep-spatial compositions); 2) materials of the modules (wooden, metallic, mirror, polymeric modules) and 3) artistic direction (abstract-associative or figurative composition).
The implementation of kinetic constructions in the sphere of object-spatial environment organization began with artistic experimentation in the creation of kinetic sculptures (modules) and their introduction into residential and public interiors. Alexander Calder, one of the first artist-kinetic sculptors, created his modules in the middle ofthe twentieth century. Among the well-known figures of contemporary kinetic art working with deep-spatial compositions, we can distinguish R. Margolin [1] and J. Sauter [2]. The works of these sculptors emotionally impact the viewer and are attractive objects that harmoniously integrate into the public object-spatial environment.
Examples of the use of kinetic objects in public interiors include: "Energy center" at German Pavilion (EXPO 2010); MKT-Fine Exhibition Engineering (Germany): State Archaeological Museum (Germany); "Kinetic Rain" in Changi International Airport (Singapore); the museum "Discovery" (USA) and kinetic sculpture "Nebula" in Hilton Anatole hotel (USA) etc.
The development of kinetic experiments in the field of artistic practices of the mid-twentieth century formed the foundation for the implementation of innovative technologies in environmental design. The indicated combination manifested as kinetic light compositions that combine moving structure and sources of artificial light. Such kinetic systems are deep-spatial compositions that consist of modular elements with built-in LED lamps. The wave-like movement of kinetic light structures is carried out by automated software control. Among modern companies working in this field of design, we can distinguish WHITEvoid GmbH (Germany), Guangzhou Changyuan Stage Lighting Equipment Company Ltd (China), Guangzhou X Lighting Co., Ltd (China), EL STAGE LIGHTING CO. Ltd (China) and Hyphen Labs (Spain).
The installation of kinetic structures requires large ceiling height, as they consist of a system of motorized mechanisms and suspended modules, which need space to implement a variety of motion paths. This led to the use of these kinetic objects in public interiors. Designers use such constructions to organize the object-spatial environment of shopping malls, entertainment centers, interiors of concert halls, exposition and exhibition spaces, and recreation areas of office premises.
These kinetic constructions are equipped with dynamic light and realize the concept of attractiveness, creating a vivid visual effect by means ofinnovative technologies. Kinetic lighting compositions used in the interiors ofconcert halls synchronized with musical accompaniment enhance the dramatic and visual effect of the action. A striking example is the design of the stage space at Eurovision Song Contest 2015 (Austria), where a kinetic light sculpture equipped with 650 modules with LED backlight was installed above the arena with spectators [3].
In addition to kinetic light compositions, which are expressive art-objects of space, the use of moving structures is present in modern furniture design.
In furniture design, the use of kinetic structures is directed to the creation of interactive object, the shape of which adapts to the person. An interesting example is
the kinetic bench "Polymorphic kinetic bench", designed by students at Columbia University Columbia University GSAPP (USA). This object activates when interacting with a person, where the change in the position of element stalls varies under the influence of user actions. The wave-like design reacts to a person's weight, interacts with the person, and takes on body-friendly configuration. The authors of the project tried to make the object as economical as possible while realizing the concept of attractiveness [4].
The combination of technical innovation and artistic design in a single form is the basis of modular kinetic interactive panels. A study of the global design practice of creating these objects makes it possible to trace the prototypical connections of modern kinetic panels with the work of the Ukrainian avant-garde artist A. Arkhipenko. His philosophical ideas about energy and movement led to the formulation of the concept of a moving artwork, the creation of a "mechanical picture" called "archipen-ture". The device had a box construction with a movable frame and horizontal strips rotating with an electric motor. Metal and Plexiglas strips with applied graphic images during rotation created the illusion of moving picture [5, 362-365]. The idea underlying A. Arkhipenko's creative experimental work is present in the design of modular kinetic interactive panels and the creation of kinetic facades of modern architecture.
One of the variations of the interactive kinetic panel creation based on the use of moving elements are D. Rozin's interactive mirrors. The author creates planar compositions consisting of modular and heterogeneous elements, arranged in various geometric shapes. The basis of the action of such objects is a complex consisting of: 1) motorized mechanisms fixed on the back of each segment of the composition; 2) video cameras; and 3) a computer support system with a control program. The reflection of light on the elements' surface changes when the segments of the compositional structure begin to rotate. Due to the play of shadows, a stylized reflection of a person is formed on the mirror surface. D. Rozin uses wooden, metal, polymer and mirror blocks to create his projects [6].
An interesting example of creating kinetic interactive panels is the Brixels system from the BREAKFAST New York design studio. This work is a system of blocks that consist of mirror modules on a vertical axis. The rotation of the elements is due to the use of the "Linux Control Computer" system and motion sensors that can respond
to physical movements in space, controlled through a web application.
Designer E. Zolti believed that the interactivity of this system allows the panel to be an integral part of the space "and not a superstructure used to equip or turn into internal walls, partitions, fences, railings or even building facades" [7].
In interactive panels, the main task is to create an attractive art-object, and in architecture - to use moving modular elements aimed at regulating the life-support processes ofbuildings. The smooth movement of modular elements on the facade of the building creates a visual effect of wave-like movement; affects insulation, ventilation, and air conditioning; reduces energy consumption; and contributes to the formation of a comfortable microclimate in the interiors. Furthermore, insulation regulation issues and additional air supply system comprises a kinetic facade includes rainwater harvesting, wind turbines, water heating by means of solar energy and photovoltaic [8].
The imaginative solution of architectural structures equipped with kinetic facades build by the use of a modular system. This kinetic construction occupies the major part of the outer shell of the building. The most important part of the kinetic facade is the special design, which is regulated by a program control system. Composite modular elements are transformed, move horizontally and vertically, fold, and rotate.
The most striking examples of architectural structures equipped with kinetic facades are the "One Ocean" exhibition pavilion developed by Soma (South Korea), "El Bahr Tower" from Aedas Architects (UAE), "Melbourne City Council House 2" from DesignInc (Australia), and the facade of the University of Southern Denmark's communications and design building from Henning Larsen Architects (Denmark) etc.
Global practice of application of the kinetic facade is one of the areas of implementation of the current focus areas of environmental viability, energy efficiency, use of solar energy, and the rational use of energy resources. Kinetic facades are only part of such a direction as kinetic architecture.
Analysis of the global architectural and engineering experience in field of kinetic facades creation made it possible to identify the main types of mechanical systems that allow these structures to transform: 1) fan system; 2) rotation of elements on its axis; 3) folding system; 4) membrane system; 5) layering of moving elements.
The concept of kinetic architecture is to design buildings with transforming and automated elements, where the shape of the structure changes in accordance with the needs of people or adapts to changing environmental conditions [9; 10].
Owing to the development ofinnovative technologies and their implementation in the field of architecture and design, it became possible to implement the most interesting and diverse projects, creating bright, memorable, visually attractive objects. Kinetic constructions used in modern architecture create the effect of attractiveness, appeal to the viewer's attention due to the immensity of mechanical structures, and aim at changing the shape of the object and its dynamics in space and time.
Conclusion
The attractiveness of kinetic constructions is determined by the mobility of their forms and their interaction with man and the environment.
We can conclude that the main methods for the implementation of kinetic constructions in the object-spatial environment are:
1) the application of small kinetic compositions as an additional accent element of the space. This method assumes the use of plane wall objects, freestanding volumetric forms and suspended spatial compositions;
2) the implementation of large-scale kinetic constructions in the interior space of public use. The complex design of such forms requires considerable preparation and puts forward special requirements for the inner architectural space (ceiling height, presence of an atrium, reinforcement of structures);
3) kinetic constructions in furniture design - the creation of furniture-transformer (folding, sliding, adjustable, combined). This method is aimed at creating multifunctional objects, where the artistic image is not the primary task;
4) the use of kinetic transformer constructions in the interiors of residential and public purposes (moving and transforming partitions). This method implements the function of adapting the interior zoning in accordance with the needs of the user;
5) the equipment of the external surfaces of buildings with kinetic constructions - the creation of kinetic facades. This method form an aesthetic expressiveness of the object and adds functionality, environmental friendliness and economic feasibility to the building;
6) total implementation of kinetic constructions into the space of the urban environment - the creation of a kinetic urban space. This method is predictive and involves a combination of kinetic architecture, transforming urban environment and the inclusion of kinetic objects into the landscapes design. This practice have an experimental character and only partially implemented in real life. We predict that the creation of a kinetic urban space will develop and become widespread in the field of organizing the space of cities of the future.
The combination of innovative technologies and the vivid visual effect of kinetic objects attracts attention and is the quintessence ofmodern architecture. The concept of attractive space is implemented in harmony with the environment under the conditions of technological civilization. The artistic expressiveness of architecture is strengthened and its "humanistic" attitude towards man is manifested.
References:
1. Reuben Heyday Margolin. Available at: URL: https://www.reubenmargolin.com/ (Accessed 21.03.2020).
2. Joachim Sauter. Available at: URL: http://www.joachimsauter.com/ (Accessed 14.04.2020).
3. Eurovision 2015: Stage boasts hanging cameras, kinetic sculpture and LED floors. 2015. Available at: URL: https://wiwibloggs.com/2015/04/28/eurovision-2015-stage/92245/ (Accessed 10.05.2021).
4. Polymorphic / Columbia University GSAPP. 2011. Available at: URL: https://www.archdaily.com/168258/ polymorphic-columbia-university-gsapp/ (Accessed 12.05.2021).
5. Azizjan I. A. Aleksandr Arhipenko. - Moscow: Progress-Tradicija. 2010. - 618 p. (in Russ.).
6. Daniel Rozin interactive art. Available at: URL: http://www.smoothware.com/danny/ (Accessed 15.03.2020) (in English).
7. Marani M. Brixels open up new possibilities for kinetic facades. The Architecture newspaper. 2018. Available at: URL: https://archpaper.com/2018/10/brixels-kinetic-facades/#gallery-0-slide-0/ (Accessed 25.04.2020).
8. Konovalenko G. Kinetic facades: technology for a comfortable microclimate. Examples ofbuildings with movable facades. 2016. Available at: URL: https://okna.ua/library/art-kynetycheskye_fasady_tekhnolohyya/ (Accessed 21.02.2021). (in Russ.).
9. Elmokadem A., Ekram M., Nashaat B., Waseef A. Kinetic Architecture: Concepts, History and Applications. 2018. International Journal of Science and Research (IJSR). - Vol. 7. - Issue 4. Available at: URL: https://www. researchgate.net/publication/330349848_Kinetic_Architecture_Concepts_History_and_Applications/ (Accessed 17.03.2021).
10. Beesley Ph., Sachiko Hirosue, Ruxton J. Toward Responsive Architectures. Responsive Architectures: Subtle Technologies. Eds. Philip Beesley, Sachiko Hirosue, Jim Ruxton M. Trankle and C. Turner. - Toronto: Riverside Architectural Press, 2006. - Print. 3-11.
Information about the authors
Natalia Serhiivna Bryzhachenko, PhD (Candidate of Study ofArt), Associate professor in the Department of Fine
Arts, Musicology and Cultural Studies at the Sumy State Pedagogical University named after A. S. Makarenko
Address: 87 Romenska Str., 40002, Sumy, Ukraine
E-mail: [email protected]; tel.: +38 (0542) 68-59-15
ORCID: 0000-0001-7322-1291
Natalia Mykhailivna Kokhan, PhD (Candidate of Study ofArt), Associate professor in the Department of Fine Arts, Musicology and Cultural Studies at the Sumy State Pedagogical University named after A. S. Makarenko Address: 87 Romenska Str., 40002, Sumy, Ukraine E-mail: [email protected]; tel.: +38 (0542) 68-59-15 ORCID: 0000-0003-2283-0761
Alina Valeriivna Skorokhodova, PhD (Candidate of Architecture), Associate professor. Department ABS and AED,
O. M. Beketov National University of Urban Economy in Kharkiv
Address: 17 Marshala Bazhanova Str., 61002, Kharkiv, Ukraine
E-mail: [email protected]; tel.: +38 (057) 707-31-29
ORCID: 0000-0003-1388-8013
Yanina Oleksandrivna Verkhovodova, Postgraduate student at the Kharkiv State Academy of Design and Arts Address: 8 Mystetstv Str., 61002, Kharkiv, Ukraine E-mail: [email protected]; tel.: +38 (057) 706-04-04 ORCID: 0000-0002-3387-2951
БРИЖАЧЕНКО Н. С., 1
КОХАН Н. М., 1 СКОРОХОДОВА А. В., 2 ВЕРХОВОДОВА Я. О., 3
1 Сумський державний педагогiчний утверситет iMeHi А. С. Макаренка (Суми, Украша) 2 Харпвський нащональний утверситет мкького господарства iмeнi О. М. Бекетова (Хартв, Украша) 3 Харивська державна акадeмiя дизайну i мистецтв (Хар^в, Украша)
К1НЕТИЧН1 КОНСТРУКЦЙ" У СТВОРЕНН1 АТТРАКТИВНОГО ПРЕДМЕТНО-ПРОСТОРВОГО СЕРЕДОВИЩА
Анотаця
Мета: розглянути методи впровадження кшетичних конструкцш, як формують виразш художш ефекти та дозволяють дизайнерам та арх^екторам створити привабливий простр, який може адаптуватися до вимог естетики, еколопчносп, функцюнальносп та енергоефективносп.
Методи: в робоп було застосовано загальнотеоретичнi HayKOBi методи (пор1вняння, узагальнення i про-гнозування) та спецiaльнi методи досл1джень (композицшний та порiвняльний анал1з).
Результати: у статп зосереджено увагу на застосуванш к1нетичних конструкцш в оргашзацп предмет-но-просторового середовища, як1 допомагають створити виразний художнш образ. У статп представлено класиф1кац1ю к1нетичних об'ект1в за композищею, матер1алами складових елемент1в та художньо-образним спрямуванням. Визначено методи впровадження к1нетичних конструкцш у предметно-просторове середови-ще: 1) застосування невеликих к1нетичних об'ект1в, що створюють композицшш акценти; 2) 1мплементащя масштабних к1нетичних конструкцш у внутршньому простор1 штер'ер1в; 3) к1нетичш конструкцп в дизайн мебл1в - створення систем трансформацп мебл1в; 4) впровадження кшетичних конструкцш в проспр штер'еру -адоптащя простору тд вимоги людини; 5) устаткування фасад1в буддвель к1нетичними конструкц1ями; 6) то-тальне впровадження к1нетичних систем у проспр м1ського середовища.
Наукова новизна: вперше на основ1 представлених метод1в наукових досл1джень у статп визначено методи впровадження к1нетичних конструкцш, як1 формують аттрактивне предметно-просторове середовище.
Практичне значения: результати роботи можуть застосовуватись у досл1дженнях сучасних тенденцш архггектури 1 дизайну, прогностичних концепцш щодо формування шновацшного предметно-просторового середовища та стати основою для розв1док перспектив «театрал1зацп» м1ського простору. Висновки можуть впроваджуватись у викладацьк1й д1яльносп у сфер1 дизайну середовища та арх1тектури.
Ключовi слова: к1нетичш конструкцп, к1нетичш об'екти, предметно-просторове середовище, дизайн ш-тер'еру, архитектура.
1нформац1я про авторш
Наталя Сергивна Брижаченко, кандидат мистецтвознавства, доцент кафедри образотворчого мистецтва, музикознавства та культурологи,
Сумський державний педагопчний ушверситет 1меш А. С. Макаренка Адреса: вул. Роменська, 87, 40002, Суми, Украша E-mail: [email protected]; тел.: +38 (0542) 68-59-15 ORCID: 0000-0001-7322-1291
Наталя Михайлвна Кохан, кандидат мистецтвознавства, доцент кафедри образотворчого мистецтва, музикознавства та культурологи, Сумський державний педагопчний ушверситет ¡меш А. С. Макаренка Адреса: вул. Роменська, 87, 40002, Суми, Украша E-mail: [email protected]; тел.: +38 (0542) 68-59-15 ORCID: 0000-0003-2283-0761
Алша Валерпвна Скороходова, кандидат арх1тектури, доцент, доцент кафедри арх1тектури буддвель 1 споруд та дизайну арх1тектурного середовища. Харк1вський нацюнальний ушверситет м1ського господарства 1меш О. М. Бекетова.
Адреса: вул. Маршала Бажанова, 17, 61002, Харк1в, Украша E-mail: [email protected]; тел.: +38 (057) 707-31-29 ORCID: 0000-0003-1388-8013
Янша Олександр1вна Верховодова, здобувач наукового ступеня кандидата мистецтвознавства. Харк1вська
державна академ1я дизайну 1 мистецтв
Адреса: вул. Мистецтв,8, 61002, Харк1в, Украша
E-mail: [email protected]; тел.: +38 (057) 706-04-04
ORCID: 0000-0002-3387-2951
