The thesis is a retrospective reporting and a critical examination of HyperSteel. This is a hypermedia application for architectural education intended to function as a learning bridge between structural knowledge-acquisition and intuitive use. It is one of many parallel developments in software design that have occurred around the world in the last decade (Mitchell 1995). Hypermedia is a set of procedures applied to computer aided learning that is based upon interactive software, typically Apple Computer's Hypercard©, and its successors. How can this medium with its strongly cinematographic characteristics best be used in the imaginative and intuitive processes of an architectural education? The term cinema - whether it means the discipline and industry of film making or whether it is the architecture of a place of entertainment - evokes diverse concepts and images. These include illusions of time and space, the sense of seeing more than one reality at the same time; and of existing at the intersection of art and technology. This thesis argues that these related concepts and images can be distilled from cinema and other established disciplines, and adapted into a common aesthetic for hypermedia. The thesis posits a chronotopic theory with respect to the computer-human interface, whose integral imaginative mechanism is the click-jump of the user interface device. Mikhail Bakhtin's chronotopic event is borrowed from literary theory to describe the progression and development of time and space as they intersect (Bakhtin 1937). It is argued that this moment of the man-machine coordinated action is the act which puts imaginative control of the learning process into the hands of the learner and thus becomes the central vehicle of knowledge delivery. The theoretical underpinning for this argument refers to depictions of architecture as a space-time experience used by historian Sigfried Giedion (1941). The perception of the intuition as tacit knowledge is developed from Michael Polanyi (1969), and the conclusions of cognitive psychologist Allan Paivio and others provide an educational principle of dual processing as a model for learning by hypermedia (Paivio 1986).The writings of Paul Ricoeur (1988) on the nature of a meaning for narrative which encompasses both time and space along one horizon in which the traveller - in this case the student architect - arrives at perceptive understanding in their learning The thesis is a retrospective reporting and a critical examination of HyperSteel. This is a hypermedia application for architectural education intended to function as a learning bridge between structural knowledge-acquisition and intuitive use. It is one of many parallel developments in software design that have occurred around the world in the last decade (Mitchell 1991). Hypermedia is a set of procedures applied to computer aided learning that is based upon interactive software, typically Apple Computer's Hypercard©, and its successors. How can this medium with its strongly cinematographic characteristics best be used in the imaginative and intuitive processes of an architectural education? The term cinema - whether it means the discipline and industry of film making or whether it is the architecture of a place of entertainment - evokes diverse concepts and images. These include illusions of time and space, the sense of seeing more than one reality at the same time; and of existing at the intersection of art and technology. This thesis argues that these related concepts and images can be distilled from cinema and other established disciplines, and adapted into a common aesthetic for hypermedia. The thesis posits a chronotopic theory with respect to the computer-human interface, whose integral imaginative mechanism is the click-jump of the user interface device. Mikhail Bakhtin's chronotopic event is borrowed from literary theory to describe the progression and development of time and space as they intersect (Bakhtin 1937). It is argued that this moment of the man-machine coordinated action is the act which puts imaginative control of the learning process into the hands of the learner and thus becomes the central vehicle of knowledge delivery. The theoretical underpinning for this argument refers to depictions of architecture as a space-time experience used by historian Sigfried Giedion (1941). The perception of the intuition as tacit knowledge is developed from Michael Polanyi (1969), and the conclusions of cognitive psychologist Allan Paivio and others provide an educational principle of dual processing as a model for learning by hypermedia (Paivio 1986).The writings of Paul Ricoeur (1988) on the nature of a meaning for narrative which encompasses both time and space along one horizon in which the traveller - in this case the student architect - arrives at perceptive understanding in their learning process, will also inform this theoretical perspective. The intention of the thesis is- to identify, and theorise digital chronotopicity as it functions in architecture education. My conclusion is that there is a role for the media practitioner and theorist in making interactive software tools effective in the context of computer technologies and architecture education.
| Identifer | oai:union.ndltd.org:ADTP/247798 |
| Date | January 2003 |
| Creators | Soutar, Anna L., 1942- |
| Publisher | ResearchSpace@Auckland |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated., http://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm, Copyright: The author |
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