Sunday, May 3, 2009
Sunday, April 5, 2009
“ Techniques and Technology “ + “ Temporality and Time” , “Catalytic Formations Architecture and Digital Design " By Rahim Ali (Abstract)
The future of architecture must be seen as an evolution of the existing technologies so that they may aid in a betterment in our culture and way of living. In this article, the author begins by defining the difference between technology, technique and technical. He says "A technology can be defined as the application of a purely technical or scientific advance to a cultural context" (p 11). A technical refinement on the other hand is a betterment of that technology, for example a faster modem. Technology may be measured qualitatively while technical efficiency may be measured quantitatively, The users of technologies develop techniques, or ways in which the technology may be used to its fullest. Techniques evolve as new ones are discovered and as technical refinements are developed. All this is a feedback loop, the author says, and all three things are intertwined and depend on each other for the creation of better methods for a better design.
Rahim presents the works of Charles and Ray Eames as an example of the feedback loop that he discusses. The Eames began integrating technologies of World War II into their designs. They took innovations in areas of boat design, airplane design, and car design, among others. They were able to develop a machine that would be able to produce plywood by using technology that could glue very thin pieces of wood together tightly. They were able to develop curving chairs made out of plywood. They also took metal welding technologies from car producers to create seamless welds in metal parts. The Eames also worked with Zenith plastics to produce fiberglass chairs in large quantities and at very low prices. Their visionary ways provided a new way of thinking for their era and led them to be known as the ones that "changed the way the twentieth century sat down" (p 7). Rahim also mentions Verner Panton as another visionary of the time. He took advantage of the accidental discovery of a new plastic called high-density polyethylene, or Marlex. By exploring the possibilities that the plastic could offer, Panton was able to create a chair that was monolithic, by only using one piece of plastic.
Similarly today, many firms are exploring the possibilities of reaching out and integrating technologies from other practices in order to better their own. Frank Ghery has even opened up his own company that works toward the evolution of design software. It is interesting that Ghery is not only working toward better technologies, but also for ways in which to make the software available for everybody. This is an important goal if we would really like to see the effects of a new architecture in our future.
The author also discusses theories of temporality and time. He discusses how the design process can be approached in different ways, not only in the classical linear, top-bottom technique. A designer can also begin in the bottom, by designing the specifics of a program first, and they combining them to create the whole idea. The author gives the example of Greg Lynn FORM who designed the Hydrogen House by first designing the specific requirements such as generating energy from the site. He later tied all these elements together to create the final product. Spuybroek also used a similar technique with an advanced technique developed by himself in a computer program. In designing 1050 Prefabricated Houses, he was able to address the larger problem of where the houses would be located to how different uses of a house could be integrated into the house itself. All these different methods of design and production are the future of architecture and must be pursued and practiced by architects everywhere. Now that technology is becoming cheaper and more readily available, these techniques will become more common, and the technical advances will also be more numerous. This will lead to a more affordable and practical architecture.
Rahim presents the works of Charles and Ray Eames as an example of the feedback loop that he discusses. The Eames began integrating technologies of World War II into their designs. They took innovations in areas of boat design, airplane design, and car design, among others. They were able to develop a machine that would be able to produce plywood by using technology that could glue very thin pieces of wood together tightly. They were able to develop curving chairs made out of plywood. They also took metal welding technologies from car producers to create seamless welds in metal parts. The Eames also worked with Zenith plastics to produce fiberglass chairs in large quantities and at very low prices. Their visionary ways provided a new way of thinking for their era and led them to be known as the ones that "changed the way the twentieth century sat down" (p 7). Rahim also mentions Verner Panton as another visionary of the time. He took advantage of the accidental discovery of a new plastic called high-density polyethylene, or Marlex. By exploring the possibilities that the plastic could offer, Panton was able to create a chair that was monolithic, by only using one piece of plastic.
Similarly today, many firms are exploring the possibilities of reaching out and integrating technologies from other practices in order to better their own. Frank Ghery has even opened up his own company that works toward the evolution of design software. It is interesting that Ghery is not only working toward better technologies, but also for ways in which to make the software available for everybody. This is an important goal if we would really like to see the effects of a new architecture in our future.
The author also discusses theories of temporality and time. He discusses how the design process can be approached in different ways, not only in the classical linear, top-bottom technique. A designer can also begin in the bottom, by designing the specifics of a program first, and they combining them to create the whole idea. The author gives the example of Greg Lynn FORM who designed the Hydrogen House by first designing the specific requirements such as generating energy from the site. He later tied all these elements together to create the final product. Spuybroek also used a similar technique with an advanced technique developed by himself in a computer program. In designing 1050 Prefabricated Houses, he was able to address the larger problem of where the houses would be located to how different uses of a house could be integrated into the house itself. All these different methods of design and production are the future of architecture and must be pursued and practiced by architects everywhere. Now that technology is becoming cheaper and more readily available, these techniques will become more common, and the technical advances will also be more numerous. This will lead to a more affordable and practical architecture.
Saturday, March 21, 2009
Tuesday, March 17, 2009
Abstract: "Blob Tectonics or Why Tectonics is Square and Topology is Groovy" By Greg Lynn
Greg Lynn offers a visionary discussion about the topologies of blobs in this chapter of his book. He states that "Blobs suggest alternative strategies of structural organization and construction that provide intricate and complex new ways of relating the homogeneous or general to the heterogeneous or particular" (169). The author suggests that this is a better way of viewing spaces and shapes which will solve the basic problem of tectonics which is tying the whole to the details of the form and having them interact successfully. Blobs have several characteristics that enable them to overcome this problem of tectonics. They are continuous surfaces that "possess neither a global form nor a single identity." (171). When they join with another blob they incorporate into each other seamlessly. This is because they are not considered solids but more "aqueous" forms that can merge and adapt according to the situation that they may be in.
The author also mentions two different theories about the way in which we can discover the basic characteristics of an object. According to Cartesianism, which is an older theory, the "constitutive identity" of a shape can be reached by breaking it up into its simplest parts. A newer more visionary idea is attributed to Leibniz which states that this identity can be found by changing the object and bringing it to a more complex state. The blob may be understood in this way because it remains as a single object or a whole but cannot be broken down to its basic parts because in itself, it is a basic part. The author believes that the Leibniz theory is "creative" and that is has a "vital elegance of combinatorial multiplicity."
The chapter continuous the discussion by applying the theory to more practical circumstances. Lynn describes the work of Alejandro Zaera-Polo and Farshid Moussavi especially the Yolkohama Port Terminal. The roof of this project is not a flat surface but rather an undulating, almost blob-like form which mutates at places where the slabs that are used change. The proposal by Reiser and Umemoto for this project can also be applied to these theories. Specifically, the author discusses the dynamics of the roof system in this scheme. It may be compared to a blob because it is a continuous surface that mutates according to the program that may be found inside it. This blob seams to glide across the large space seamlessly. With these specific examples we can begin to see a different way of composing the architecture of the future. Our way of life is, like a blob, continuous and seamless. By creating these kinds of shapes to surround our everyday lives we would be creating more comfortable spaces i which we can flow through. The technology that is available to us now will also allow this concept to be developed to a full extent in a near future.
The author also mentions two different theories about the way in which we can discover the basic characteristics of an object. According to Cartesianism, which is an older theory, the "constitutive identity" of a shape can be reached by breaking it up into its simplest parts. A newer more visionary idea is attributed to Leibniz which states that this identity can be found by changing the object and bringing it to a more complex state. The blob may be understood in this way because it remains as a single object or a whole but cannot be broken down to its basic parts because in itself, it is a basic part. The author believes that the Leibniz theory is "creative" and that is has a "vital elegance of combinatorial multiplicity."
The chapter continuous the discussion by applying the theory to more practical circumstances. Lynn describes the work of Alejandro Zaera-Polo and Farshid Moussavi especially the Yolkohama Port Terminal. The roof of this project is not a flat surface but rather an undulating, almost blob-like form which mutates at places where the slabs that are used change. The proposal by Reiser and Umemoto for this project can also be applied to these theories. Specifically, the author discusses the dynamics of the roof system in this scheme. It may be compared to a blob because it is a continuous surface that mutates according to the program that may be found inside it. This blob seams to glide across the large space seamlessly. With these specific examples we can begin to see a different way of composing the architecture of the future. Our way of life is, like a blob, continuous and seamless. By creating these kinds of shapes to surround our everyday lives we would be creating more comfortable spaces i which we can flow through. The technology that is available to us now will also allow this concept to be developed to a full extent in a near future.
Saturday, March 7, 2009
“Generative Systems – Evolving Computational Strategies” + “ Formal Matters - The virtual as a generative process” By: Therese Tierney
Tierney discusses various topics that are of essence to the future of architecture and design. Architecture has become a multifaceted discipline because of the issues that we have to address in the present and in the future. It is this reason that has led to a development of more complex design tools that aid us in ways that were never thought possible. These technological tools are simply that: tools. We cannot expect for them to develop our design process to a full extent because human input is essential. It is up to us to differentiate between functional and non functional, and aesthetically pleasing and not pleasing. What these tools do is help us get to a point where we find a workable scheme which we can further develop. The author talks about a type of design helps us find better options to a specific creation. It is called parametric design.
With parametric design software, a designer is able to insert a group of rules or parameters that the computer has to work with, for example the area of the building or the height of a structure. Other parameters such as structure functionality may also be inserted and are often used by engineers. Once this set of data is inserted into the program, the computer begins to generate many different schemes that are consistent with the limits. From all these schemes the designer is able to choose which ones are most efficient and functional. With these programs, the computer is able to produce schemes that might not have been thought of by the designer which is a great advantage. These schemes may lead to a more efficient way of building or a more efficient use of energy within the building. The author does pose a question at the end of her description of the program however: “How much creative agency or choice does the designer actually have?” The designer may not have a complete choice of design per se, but the final choice of the design is entirely up to the designer. It is up to them to develop the scheme further and make it completely functional and aesthetically pleasing. We could say that these schemes produced by the computer are only a source of inspiration.
Another theme that is discussed by the author is the importance of collaborative work between several practices for example, architects and biological engineers, or designers and scientists. This work between several professions is inevitable in the future. Architects need to think beyond aesthetic design and begin to think about sustainability and efficient use of energy. By working together, designers are able to explore many facets of the design and in doing so, creating a more functional and efficient one. The software that is being used for design purposes was once used only by scientists and engineers. It is evident in this sense that both professions are inter-relatable. In all, it is a complex combination of mutations and changes that need of several factors to become an optimum design or concept. Many factors must be calculated in, not only mathematically, but also professionally and socially. It is the work of many people and points of view as well as mathematical factors that will help the future of design be brighter.
With parametric design software, a designer is able to insert a group of rules or parameters that the computer has to work with, for example the area of the building or the height of a structure. Other parameters such as structure functionality may also be inserted and are often used by engineers. Once this set of data is inserted into the program, the computer begins to generate many different schemes that are consistent with the limits. From all these schemes the designer is able to choose which ones are most efficient and functional. With these programs, the computer is able to produce schemes that might not have been thought of by the designer which is a great advantage. These schemes may lead to a more efficient way of building or a more efficient use of energy within the building. The author does pose a question at the end of her description of the program however: “How much creative agency or choice does the designer actually have?” The designer may not have a complete choice of design per se, but the final choice of the design is entirely up to the designer. It is up to them to develop the scheme further and make it completely functional and aesthetically pleasing. We could say that these schemes produced by the computer are only a source of inspiration.
Another theme that is discussed by the author is the importance of collaborative work between several practices for example, architects and biological engineers, or designers and scientists. This work between several professions is inevitable in the future. Architects need to think beyond aesthetic design and begin to think about sustainability and efficient use of energy. By working together, designers are able to explore many facets of the design and in doing so, creating a more functional and efficient one. The software that is being used for design purposes was once used only by scientists and engineers. It is evident in this sense that both professions are inter-relatable. In all, it is a complex combination of mutations and changes that need of several factors to become an optimum design or concept. Many factors must be calculated in, not only mathematically, but also professionally and socially. It is the work of many people and points of view as well as mathematical factors that will help the future of design be brighter.
Thursday, February 26, 2009
Professor Larry Sass: The Process of Digital Fabrication
Professor Larry Sass from MIT is a fomenter for a new type of building process which consists of digital design and pre-fabrication. Last year, Professor Sass was part of an exhibition at the Museum of Modern Art in New York City called Home Delivery. For the exhibition, he constructed a shotgun house made out of pieces that resemble a jigsaw puzzle. The pieces were all designed using a CAD program and were later cut on a laser cutter. They were assembled using little or no glue as they mostly stayed together due to friction between them. The house built on site was easy and extremely fast to assemble.
“The Printed House,” as Professor Sass calls it, is an example for a new way of executing buildings. This new construction method is more efficient in time and in material use. No factories are used in the process. The assemblies are self guided and can easily be done by a small group of people. There is no hand cutting as it is all done by a robotic hand. This helps in the reduction of material waste because the cuts are more precise and the material is used more efficiently. The whole building process also becomes a type of construction that uses less energy. Since the building information is transmitted digitally, there is no need for the use of trucks or large machinery.
Professor Sass is a visionary with this process. The future of architecture has to go hand in hand with a better future for communities, cities and the world at large. Not only does this method aid in making the world “greener,” but it also helps at a social level. He believes that this form of construction can help bring communities together because it allows for people to get involved in the process. Since assembly becomes simple and fast, more people can participate. Professor Sass is not the first person, however, to foment this type of construction. In 1895, Sears Roebuck sold parts for house construction as a set of pre-fabricated, standard elements. They were all listed in a catalogue from which people made their selection. Many other companies have also tried to embark in this process, but many have been unsuccessful. According to Professor Sass there are several reasons why this is the case. First of all the designs are usually not flexible which discourages people from acquiring them because of their lack of originality. Errors can also occur in measurements and execution which can lead to a waste in material as well as unnecessary costs. Another reason why they tend to fail is that the relationship between the architect and the builder is not common which can also lead to construction errors or miscommunication.
Despite these disadvantages, the process seems to have a bright future. Responsible construction should address not only environmental issues but also social issues. With these pre-fabricated houses, not only is a community able to come together, but families are also able to have an affordable and sustainable home. These houses are a possible solution for the lack of descent housing in poor communities. The fabrication of the pieces can be done in large quantities allowing for the costs of this step to go down. The shipping of the parts would be the only extra cost, unless they are fabricated close by to these communities. Assembly can be executed with simple visual instructions and can be completed by the same owners of the house, or even their neighbors. Even though this process may still be in the stages of development and perfection, its logic is sure to make it one of the most popular and effective methods of construction in a near future.
“The Printed House,” as Professor Sass calls it, is an example for a new way of executing buildings. This new construction method is more efficient in time and in material use. No factories are used in the process. The assemblies are self guided and can easily be done by a small group of people. There is no hand cutting as it is all done by a robotic hand. This helps in the reduction of material waste because the cuts are more precise and the material is used more efficiently. The whole building process also becomes a type of construction that uses less energy. Since the building information is transmitted digitally, there is no need for the use of trucks or large machinery.
Professor Sass is a visionary with this process. The future of architecture has to go hand in hand with a better future for communities, cities and the world at large. Not only does this method aid in making the world “greener,” but it also helps at a social level. He believes that this form of construction can help bring communities together because it allows for people to get involved in the process. Since assembly becomes simple and fast, more people can participate. Professor Sass is not the first person, however, to foment this type of construction. In 1895, Sears Roebuck sold parts for house construction as a set of pre-fabricated, standard elements. They were all listed in a catalogue from which people made their selection. Many other companies have also tried to embark in this process, but many have been unsuccessful. According to Professor Sass there are several reasons why this is the case. First of all the designs are usually not flexible which discourages people from acquiring them because of their lack of originality. Errors can also occur in measurements and execution which can lead to a waste in material as well as unnecessary costs. Another reason why they tend to fail is that the relationship between the architect and the builder is not common which can also lead to construction errors or miscommunication.
Despite these disadvantages, the process seems to have a bright future. Responsible construction should address not only environmental issues but also social issues. With these pre-fabricated houses, not only is a community able to come together, but families are also able to have an affordable and sustainable home. These houses are a possible solution for the lack of descent housing in poor communities. The fabrication of the pieces can be done in large quantities allowing for the costs of this step to go down. The shipping of the parts would be the only extra cost, unless they are fabricated close by to these communities. Assembly can be executed with simple visual instructions and can be completed by the same owners of the house, or even their neighbors. Even though this process may still be in the stages of development and perfection, its logic is sure to make it one of the most popular and effective methods of construction in a near future.
Saturday, February 14, 2009
Monday, February 2, 2009
Abstract: "Architecture in the Digital Age: Design and Manufacturing" by Branko Kolarevic
Kolarevic brings forward an idea that should be considered common sense by every designer. Every innovative building for its time was a result of the latest technology that was available to the designers at that moment, for example the Eiffel Tower with its use of steel, or likewise the Cristal palace by Joseph Paxton. Now, our latest technology is based on digital design, development, and construction. When the Eiffel Tower was built, the technology that was at hand only allowed for a rectilinear design. This occurred because architects designed using a pencil and a paper, which only allowed for 3-dimensional planning at most. More complicated designs, especially those that contain curves were not common. In recent years and with the development of several programs based on the most advanced technology available to us, a designer can create shapes that otherwise may be unimaginable or unexpected as Kolarevic states. A new era in design capabilities has arrived and with it, the ability to create a different type of architecture.
The design based on curves is not completely new, the author says, “It does have precedents.” By looking back in time, one can appreciate the organic creations of Gaudi for example. The “bloby” shapes as the author refers to the curved creations were also popular during the 1960’s and 70’s. They did not last, however, because “they were seen as utopian architectural visions.” A good and clear example of the new architecture that is discussed is the Guggenheim Museum in Bilbao by Frank Ghery. The result of his digital manipulation of the structure is an undulating and flowing building that had never before been seen. A building like this could not have been built 100 years ago for the simple reason that digital design tools were not yet created. A quote by Rafael Moneo exemplifies this point: “…forgotten geometries [were] lost to us because of the difficulties of their representation.”
Kolarevic does not only talk about the new architecture and how it will bring forward new shapes and designs. He also talks about how these new technologies will also affect the building process that architects are used to. The process now would be “seamless.” All of the information that would be needed to construct the building would be available in only one drawing. Kolarevic emphasizes this point by commenting on the similar design process that has been used on boats and planes for some time. In creating a boat or a plane with a CAD/CAM system, a drawing has to communicate various factors to its manufactures at the same time. Here of course there are issues of buoyancy and aerodynamics that have to be taken into account in every step of construction. Now, architecture can be treated in a similar way. This ability would generate structures that would work as a whole. It could even be said that smart buildings would be common in the near future.
Not only will the common role of the architect change with the recurring use of digital media, but also the design process itself. Kolarevic comments on how architects will not be designing a concrete shape but a series of equations that will themselves be a platform for an infinite number of possibilities for a new design. This is called parametric design. This exploration of options is what Hernan Alonso Diaz and his firm Xefirotarch use in creating his pieces. In this way the author says that the architect will move away from the preconceived and static ideas in a design. This type of process can also be explored through animation software which is also being widely used in the design world. As the design is able to move and change shape, new options can arise which can give way to a better outcome.
The world of architecture is shifting. It is beginning to leave behind hundreds and hundreds of years of pencil and paper design. It is a shift in the architectural paradigm. It changes the way in which we view form and space as it never has before. These new shapes and dimensions could give way to a better way of living. Through digital media, new ways of building in ecological, sustainable and economic ways could be brought forth. It has to be understood that we are ready to move on and use the tools that are available to us to their full capacity. These changes, the author states, have to be interpreted not only in “formal terms” but in a more “fundamental way.” It is not only a matter of discovering interesting new forms but also about how these new tools can help us create a better way of life.
The design based on curves is not completely new, the author says, “It does have precedents.” By looking back in time, one can appreciate the organic creations of Gaudi for example. The “bloby” shapes as the author refers to the curved creations were also popular during the 1960’s and 70’s. They did not last, however, because “they were seen as utopian architectural visions.” A good and clear example of the new architecture that is discussed is the Guggenheim Museum in Bilbao by Frank Ghery. The result of his digital manipulation of the structure is an undulating and flowing building that had never before been seen. A building like this could not have been built 100 years ago for the simple reason that digital design tools were not yet created. A quote by Rafael Moneo exemplifies this point: “…forgotten geometries [were] lost to us because of the difficulties of their representation.”
Kolarevic does not only talk about the new architecture and how it will bring forward new shapes and designs. He also talks about how these new technologies will also affect the building process that architects are used to. The process now would be “seamless.” All of the information that would be needed to construct the building would be available in only one drawing. Kolarevic emphasizes this point by commenting on the similar design process that has been used on boats and planes for some time. In creating a boat or a plane with a CAD/CAM system, a drawing has to communicate various factors to its manufactures at the same time. Here of course there are issues of buoyancy and aerodynamics that have to be taken into account in every step of construction. Now, architecture can be treated in a similar way. This ability would generate structures that would work as a whole. It could even be said that smart buildings would be common in the near future.
Not only will the common role of the architect change with the recurring use of digital media, but also the design process itself. Kolarevic comments on how architects will not be designing a concrete shape but a series of equations that will themselves be a platform for an infinite number of possibilities for a new design. This is called parametric design. This exploration of options is what Hernan Alonso Diaz and his firm Xefirotarch use in creating his pieces. In this way the author says that the architect will move away from the preconceived and static ideas in a design. This type of process can also be explored through animation software which is also being widely used in the design world. As the design is able to move and change shape, new options can arise which can give way to a better outcome.
The world of architecture is shifting. It is beginning to leave behind hundreds and hundreds of years of pencil and paper design. It is a shift in the architectural paradigm. It changes the way in which we view form and space as it never has before. These new shapes and dimensions could give way to a better way of living. Through digital media, new ways of building in ecological, sustainable and economic ways could be brought forth. It has to be understood that we are ready to move on and use the tools that are available to us to their full capacity. These changes, the author states, have to be interpreted not only in “formal terms” but in a more “fundamental way.” It is not only a matter of discovering interesting new forms but also about how these new tools can help us create a better way of life.
Thursday, January 29, 2009
Monday, January 19, 2009
Xefirotarch: Hernan Alonso Diaz
Hernan Diaz Alonso is the principal designer of the firm Xefirotarch, a firm that specializes in architecture, product design and motion design. The firm began in 2001 and since then it has produced many projects that are inspired by science fiction films, organic elements and even cartoons. Born in Argentina, Alonso has a particular method of design that could be labeled as unconventional and imaginative. Alonso’s design process begins with a meditative brainstorming of abstract elements that will be the starting point of his final product. He then proceeds to manipulate the image through various computer programs generating a strive between nature and his own soul. The final product is often not premeditated or fully understood by the artist. He himself refers to one of his highly renown works, Sur, as a mere “frame for experimentation.” Through this unique process, Alonso shows us that his design method is a free development of usually two ideas that could go in any direction.
Alonso is truly an idealist. With an unleashed creativity and imagination, Alonso seeks a world less dominated by conventional architectural processes. In Xefirotarch's work Chlorofilia (disseminated through youtube.com) he directs the attention of the viewer towards the notion of earth as the center of creation and life. This video, which is brief yet informative, not only pokes fun at and criticizes American living, but it also explores Alonso's alternative for the future. Through his use of digital images and designs he is able to represent his ideas of nature and our integration with it. On the other hand, one of his other projects, Sangre (Spanish for blood), represents his struggle to get to know and understand further his own nature. This large installation, presented permanently in the San Francisco Museum of Modern Art, conjugates the human idea of blood as life, and brings it in a larger scale similar to that of a living creature. He gives this particular product a much higher social connotation by using patented Ferrari paint to cover the arms of the blood creature. Alonso is truly a digital artist. As Matisse, or Titian did in their time, he uses the highest technology to describe his personal and social perception of nature, film, and life.
Alonso relies completely on computers for his design process. He feels that computers can be compared to conventional drafting tools, and therefore, computer programs still rely on skill. He expresses the idea that it is the responsibility of all architects to go out on a limb and take chances. According to the designer, it is acceptable for architects to be boastful and for them to push the limit because in this way, architecture will move forward. Through the use of computer technology, Alonso feels that this objective will become a reality. Even though he refers to his work as romantic and organic, the beauty that remains in his designs is innovative and futuristic. His idea of the future basis of design is letting nature dictate the rules. Alonso says that our forefathers could not have been further from the truth when they envisioned a future based solely on technology. We will not go in reverse, but our future life styles will be reconnected back to nature through responsible design.
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