Dissertation | Thesis by Onur Y Gun
Meaning is the essence. It is the primary reason for us to keep doing things. Meaning is both sig... more Meaning is the essence. It is the primary reason for us to keep doing things. Meaning is both significance and the endless unfolding of significance. Visual Meaning is fundamental for visual arts and design processes. One draws, paints, sculpts, throws sponges on the wall, dips one's own body into paint and crawls on the ground or codes to create lines, spots or fields (Knight), all of which are then looked into, perceived and iterated. Vision is so important that Alberti's eye becomes a godly creature with wings that flies among thunderstorms, Kepler's eye becomes a perfect machine through which stars and galaxies leaks (Alpers), Vermeer's eye becomes the ultimate light filter and depicter. Finally Stiny's eye establishes a "unique computational theory: Shape Grammars" (Knight and Stiny). And all this happens in a series of places (Casey), as one wanders through streams of creative visual processes along one's humaning (Ingold). Once I portray the moment of visual discovery as an encounter, the artists and the designer as encounterers and the computer as the counter, I ask: can the ultimate counter [the computer] provide true encounters for creative visual processes? Computing visual meaning -- it really possible? I unfold these questions by introducing a visual-making apparatus around which all scientifically separated players, the encounter, the encounterer and the counter become interwoven in one place. Visual-making, similar to living, requires us to twist, bend, embrace and abandon. The human-be-comput-ing tree grows to introduce a novel model for drawing and painting, for humaning. An uncommon place for discovering and computing visual meanings, the Broadened-Drawing Scape, emerges.
Narration of Light : Computational Tools for Framing the Tonal Imagination
FULL MIT THESIS: https://dspace.mit.edu/handle/1721.1/35503
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Existence of light reveals the ... more FULL MIT THESIS: https://dspace.mit.edu/handle/1721.1/35503
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Existence of light reveals the architectural space. And images depict them.
This thesis proposes a computational model for evaluating tonal and compositional qualities of photorealistically rendered synthetic images. Its aim is to assist the architects to quickly externalize their spatial imagination through automated evaluation and selection of volume rendered images in search of the ones they like to achieve. Taking the visual perception as the focal communication tool in design, the research promotes the use of computer generated realistic images to the very beginning of the design process.
The implemented tool, Narration of Light, is a plug-in that runs on the 3D Studio Max 7 environment, where realistic images can be rendered without any evaluation for the generated images. The tool aims to create a more self-conscious rendering environment that would computationally recognize the qualities of image by reading it via bitmap values. The plug-in, while trying to determine the user’s intention regarding the tonal distribution of light via any kind of user selected images, it also embeds algorithms of established photographical composition techniques to evaluate and classify the generated images. In the awareness of the strong relationship between space, light and images, this research intends to offer an alternative image-driven design process as well as going into the experimentation of evaluating the quality of images with computational means.
Medium.com - Selected by Curators by Onur Y Gun
Medium.Com, 2020
Once we challenge and alter our descriptions, we create a tectonic shift in our understanding of ... more Once we challenge and alter our descriptions, we create a tectonic shift in our understanding of experiential, perceptive, and performative aspects of designs.
If there is anything out-of-the-ordinary is about to appear, it happens when we let our well-suited descriptions go. How much of that we can do depends on how much design innovation we can afford.
Medium.com, 2020
How much mental strain does one need to endure to create original artwork?
To be original, you ha... more How much mental strain does one need to endure to create original artwork?
To be original, you have to be unique.
To be unique, you shouldn’t copy, right?
Wrong.
Medium.com, 2020
One of the fundamental skills you gain through attending to design school or practicing in variou... more One of the fundamental skills you gain through attending to design school or practicing in various design disciplines is: to deal with ambiguity while creating newness. Designers working with emergent technologies, on top of ambiguity and newness, need to add the drive, vision, and means so that they can be innovative.
Medium.com, 2020
A Ph.D. degree should be a need, only if you internally, both mindfully and
soulfully, want to ha... more A Ph.D. degree should be a need, only if you internally, both mindfully and
soulfully, want to have one.
You have to want to pursue a Ph.D. degree so bad that it should become a need, and you should be ready to give a lot. If this is the case, your need should be emerging and growing primarily instinctually, and only secondarily logically. Once the counterparts of your guts -your mind and heart — truly align on a path towards a Ph.D. degree, pursue it.
Book Chapters by Onur Y Gun
Dosya 29: Hesaplamali Tasarim, 2012
Computer-Aided Architectural Design. Future Trajectories, 2017
Computers help run visually creative processes, yet they remain visually, sensually and tactually... more Computers help run visually creative processes, yet they remain visually, sensually and tactually distant. This research introduces a drawing and painting process that infuses digital and analog ways of visual-making. It implements a computationally broadened workflow for hand-drawing and painting, and develops a custom drawing apparatus. Primary goal is to develop a computationally generative painting system while retaining embodied actions and tactile material interactions that are intrinsic to the processes of hand-drawing and watercolor painting. A non-symbolic, open-ended and trace-based shape calculation system emerges.
Keywords
The role of digital computers in the design process for designers has remained an open question f... more The role of digital computers in the design process for designers has remained an open question for over
fifty years. The combinatorial nature of computers and the necessity of fluency in (any low-level or high-level)
machine language have been creating the ambivalence that designers feel towards computers and
computation.
The combinatorial nature of the computer derives from its capacity to operate strictly via discritized entities.
A bit, the smallest unit that a computer operates with can bear only one of the two values: zero or
one. Any negotiation with the computer must be executed in terms of these very bits’ combinations.
For this very reason, the fluid continuity of design thinking requires discretization and codification for its
operation on the machine.
Such technical and philosophical issues give rise to the research area of design and computation. This
field investigates the reason for the words design and computation to co-exist and whether a meaningful
synergy is possible.
Section "Geometric Gestures" in Elements of Parametric Design by Rob Woodbury.
Papers by Onur Y Gun
ACADIA 2020 - Association for Computer Aided Design in Architecture, 2020
With the advancement of additive manufacturing, computational approaches are gaining popularity i... more With the advancement of additive manufacturing, computational approaches are gaining popularity in midsole design. We develop an experimental understanding of the midsole as a field and develop designs that are informed by running data. We streamline two data types, namely underfoot pressure and surface deformation, to generate designs. Unlike typical approaches in which certain types of lattices get distributed across the midsole according to average pressure data, we use ARAMIS data, reflecting the distinct surface deformation characteristics, as our primary design driver. We analyze both pressure and deformation data temporally, and temporal data patterns help us generate and explore a design space to search for optimal designs. First, we define multiple zones across the midsole space using ARAMIS data clustering. Then we develop ways to blend and distribute auxetic and isosurface lattices across the midsole. We hybridize these two structures and blend data-determined zones to enhance visual continuity while applying FEA simulations to ensure structural integrity. This multi-objective optimization approach helps enhance the midsole’s structural performance and visual coherence while introducing a novel approach to 3D-printed footwear design.
Proceedings of the 27th International Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe), 2009
design & computation Art & Design Galleries 17 As a competition entry, KPF’s design for N... more design & computation Art & Design Galleries 17 As a competition entry, KPF’s design for Nanjing South Station was one of many stations planned as part of a major expansion of China’s high-speed and regular service train lines. The station is sited in a slight valley, bisected through the center by a “green corridor” that connects the area’s major parks. Inside the station, the green corridor takes the form of an inter-modal hall. The arrival hall is located around the inter-modal hall, and above it are the station’s platforms and departure lounges. Above the elevated departure lounges roof is the metaphorical and physical centerpiece of the project: a large, sweeping roof that protects passengers from rain, sun, and wind.
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Dissertation | Thesis by Onur Y Gun
--
Existence of light reveals the architectural space. And images depict them.
This thesis proposes a computational model for evaluating tonal and compositional qualities of photorealistically rendered synthetic images. Its aim is to assist the architects to quickly externalize their spatial imagination through automated evaluation and selection of volume rendered images in search of the ones they like to achieve. Taking the visual perception as the focal communication tool in design, the research promotes the use of computer generated realistic images to the very beginning of the design process.
The implemented tool, Narration of Light, is a plug-in that runs on the 3D Studio Max 7 environment, where realistic images can be rendered without any evaluation for the generated images. The tool aims to create a more self-conscious rendering environment that would computationally recognize the qualities of image by reading it via bitmap values. The plug-in, while trying to determine the user’s intention regarding the tonal distribution of light via any kind of user selected images, it also embeds algorithms of established photographical composition techniques to evaluate and classify the generated images. In the awareness of the strong relationship between space, light and images, this research intends to offer an alternative image-driven design process as well as going into the experimentation of evaluating the quality of images with computational means.
Medium.com - Selected by Curators by Onur Y Gun
If there is anything out-of-the-ordinary is about to appear, it happens when we let our well-suited descriptions go. How much of that we can do depends on how much design innovation we can afford.
To be original, you have to be unique.
To be unique, you shouldn’t copy, right?
Wrong.
soulfully, want to have one.
You have to want to pursue a Ph.D. degree so bad that it should become a need, and you should be ready to give a lot. If this is the case, your need should be emerging and growing primarily instinctually, and only secondarily logically. Once the counterparts of your guts -your mind and heart — truly align on a path towards a Ph.D. degree, pursue it.
Book Chapters by Onur Y Gun
Keywords
fifty years. The combinatorial nature of computers and the necessity of fluency in (any low-level or high-level)
machine language have been creating the ambivalence that designers feel towards computers and
computation.
The combinatorial nature of the computer derives from its capacity to operate strictly via discritized entities.
A bit, the smallest unit that a computer operates with can bear only one of the two values: zero or
one. Any negotiation with the computer must be executed in terms of these very bits’ combinations.
For this very reason, the fluid continuity of design thinking requires discretization and codification for its
operation on the machine.
Such technical and philosophical issues give rise to the research area of design and computation. This
field investigates the reason for the words design and computation to co-exist and whether a meaningful
synergy is possible.
Papers by Onur Y Gun
--
Existence of light reveals the architectural space. And images depict them.
This thesis proposes a computational model for evaluating tonal and compositional qualities of photorealistically rendered synthetic images. Its aim is to assist the architects to quickly externalize their spatial imagination through automated evaluation and selection of volume rendered images in search of the ones they like to achieve. Taking the visual perception as the focal communication tool in design, the research promotes the use of computer generated realistic images to the very beginning of the design process.
The implemented tool, Narration of Light, is a plug-in that runs on the 3D Studio Max 7 environment, where realistic images can be rendered without any evaluation for the generated images. The tool aims to create a more self-conscious rendering environment that would computationally recognize the qualities of image by reading it via bitmap values. The plug-in, while trying to determine the user’s intention regarding the tonal distribution of light via any kind of user selected images, it also embeds algorithms of established photographical composition techniques to evaluate and classify the generated images. In the awareness of the strong relationship between space, light and images, this research intends to offer an alternative image-driven design process as well as going into the experimentation of evaluating the quality of images with computational means.
If there is anything out-of-the-ordinary is about to appear, it happens when we let our well-suited descriptions go. How much of that we can do depends on how much design innovation we can afford.
To be original, you have to be unique.
To be unique, you shouldn’t copy, right?
Wrong.
soulfully, want to have one.
You have to want to pursue a Ph.D. degree so bad that it should become a need, and you should be ready to give a lot. If this is the case, your need should be emerging and growing primarily instinctually, and only secondarily logically. Once the counterparts of your guts -your mind and heart — truly align on a path towards a Ph.D. degree, pursue it.
Keywords
fifty years. The combinatorial nature of computers and the necessity of fluency in (any low-level or high-level)
machine language have been creating the ambivalence that designers feel towards computers and
computation.
The combinatorial nature of the computer derives from its capacity to operate strictly via discritized entities.
A bit, the smallest unit that a computer operates with can bear only one of the two values: zero or
one. Any negotiation with the computer must be executed in terms of these very bits’ combinations.
For this very reason, the fluid continuity of design thinking requires discretization and codification for its
operation on the machine.
Such technical and philosophical issues give rise to the research area of design and computation. This
field investigates the reason for the words design and computation to co-exist and whether a meaningful
synergy is possible.