Week 12

In Towards an Associative Architecture, Bernard Cache opens with a company named Objectile whose soul intention was to develop a software that was able to be utilised in every architecture firm whilst still being effective and affordable. Using digital technology meant that architecture could become more cost effective, time efficient and be able to modify and generate quicker.

Cache describes associative architecture as “the key issue of digital architecture”. The limitation of geometries and numerical parents makes it more complex and restricting. As Cache explains “ ..associativity means to establish a seamless set of relations between a few control points and the 765 programs needed to manufacture it.. “ .

He uses the Semper Pavilion as an example of its use of associative architecture. He explains its complexities and geometries, and the software that was available to the creators at that time that would restrict them. Furthermore construction detailing of the project was over viewed. Objectile’s panel machine program enables the user to send information to create the curvilinear geometries. However in the Pavilions situation the complexity of it meant that a program that could support it would’ve needed to be generated.

In the Editorial of Open Source Architecture, the idea of sharing on the internet becoming a map of internet nodes is raised. The connectivity and networking of information is a vision that brings people together, physically and digitally. The internet provided people with ways to come together with other people that shared the same interests.  “People wanted to find people. They wanted to share their lives.” Sites and companies such as Facebook and Twitter make visions like this possible, however the instability of privacy becomes an issue when people are projecting their lives so vicariously on the internet.

Open Compute Project is a company that constructs data centres which are energy efficient. The idea is that other companies could learn from what they have achieved, which coincidentally was achieved through the networking of ideas through mediums such as Facebook.

Through the internet, connectivity and the ability to collect and project ideas is possible. Without it many incredible ideas that have benefited all spectrums of interests and communities may not have been realised and created. 

Readings:

“Editorial – Open Source Architecture,”* in Domus 948 (June 2011): i-iv.

Cache, Bernard, “Toward an Associative Architecture,”* in Digital Tectonics, edited by Neil Leach, David Turnbull & Chris Williams (2004): 102-109.

Week 11 300 Word Summary

Project Chosen:

White Out by Aaron Sprecher

What is the project about?

-         White Out explores the morphology of geometries under a uniform white skin. Sprecher and his collaborative team dissemble the idea of geometries in their individual state, then reassemble them in a way that tests their behaviour in relation to other materials. The intention behind this project is also to experiment with form and our perception of form. By creating a unique structure made up of individual unique geometries (reminiscent of “building blocks”), he then drapes a white membrane around them, by stretching, wrapping and deforming this flexible skin. As the structures underneath begins to reduce in clarity, the result is a unified cohesive object.

What were some significant achievements in the design approach, design solution, spatial Organisation and material Execution?

-         It is evident that Sprecher has designed the project so that there is spatial awareness and consideration. From photographs it can be seen that the structure is designed to create a geometric cavity where people can enter and exit.

-         The material would have been chosen dependent on its ability to stretch, warp and deform under extreme forces.  

What was the attitude towards technology? What technology was implemented?

-         Digital fabrication software used to calculate the deformation of the white membrane and its forces upon the underlying geometric structure.

What are the theories extracted?

-         The theory of processes

o   Methodically assembling the structure in a certain way so that it would stand soundly.

-         The theory of material manipulation, deformation and behaviour.

o   Investigating the perfect material to use that contained all the properties needed, and the effects of the membrane being warped over the geometric structure to further test its behaviour under multiple forces.

-         The theory of geometric cohesion and perception

o   The idea that the perception of shapes and objects can be morphed and transformed to create something new that we perceive as different.

Diagram Intention:
- the intention for my series of diagrams is to recreate the project while showing evidence and reiteration for my constellation of theories. I will create 2 - 3 geometric structures that vary in the geometry it is made of. Futhermore I will drape a material over it (in Rhino of course) and change the force applied to it when it is draped over. Through these different diagrams showing the different shapes created through a different intensity of deformation, the process, geometric perception and behaviour of the  material will be displayed.

Week 10 Readings

In Architectural Experiments, John Frazer discusses a project launched in 1995 that involved global participation in the virtual environment.  It explored the processes of form generation in regards to architecture and attempted to maintain a balance within the natural environment.  Architectural models which would respond to environmental change were to be created and would also be an exploration of morphogenesis and coding.

The main concept was to have a code script, produced by genetic language that would be used for form formation.  Frazer was required to consider genetic algorithms, when a structural form is coded for a technique. He made it accessible through the internet and encouraged participation to create a vast diversity in the genetic pool.

Three computers were connected and utilised with a master machine handling the evolving model itself. Another computer would be responsible for communicating with the participants and receive information for the environmental sensors. The third generated images and animations of the evolving form. 

In Parametrics Explained, Leach defines and differentiates parametric and algorithmic design. He begins with parametric design, describing its placement in the design community. Its use within mathematical design meant that it was defined as working within a certain range. Within contemporary design its implementation is focused towards modelling software to replicate and customise geometric objects. Parametric design can also implement curvilinear design as parametric design involves form manipulation.

Algorithmic design refers to the techniques and procedure to form the design solutions. Specifically in terms of design, algorithms are used for scripting language in a form of code. Programming software’s such as RhinoScript and 3dsMaxScript would implement this type of algorithmic design.

Leach indulges in his belief that parametric design is being adapted to fit in with architectural expression and aesthetics. As digital design becomes more tolerated and common place, the definition between the two types of design become somewhat blurred.

Through popularity and a wide spread adoption of the techniques, a new term “parametricism” has emerged. It could be noted that both Leach and Frazer embrace the technology and seek to refine and to some extent redefine the identity of computational design.

Readings:

Frazer, John (1995), “Architectural Experiments,”* in The Digital Turn in Architecture 1992-2012, edited by Mario Carpo (2013): 4856.

Leach, Neil, “Parametrics Explained”*, in Scripting the Future, Tongji UP, 2012

Week 9 Readings

In Carpo’s Versioning he explains the term that is controversial in the architectural community. Versioning explores the idea that it is beneficial to create an “open model of practice” where technology is used to show off skill and technique rather than pure imagery. Versioning enables architects to cross boundaries and explore other disciplines such as film, fashion, food and politics.

In this article it is clear that Carpo believes that technology has aided architecture, enabling them to rethink the design process and procedure of the outcome. Versioning is dependent on recombinant geometries so that if an external factor were to affect the structure it would not lose precision.

Versioning also includes the method of practice where architectural theory is adopted by other fields of discipline in a non-traditional sense.

In The Order of the Non-Standard, Frederic explores the ideas of rationalism technicism and engineering and more so the evolution and as he puts it “mutation” of the process of conception and production and how to adaption of software has led to morphogenesis and complex geometries. Frederic refers to many theorists such as Alan Badiou and Gilles Deleuze who theorised on mathematical ontology and algorithmic complexities.

He further begins to ask the question “Can one specify or define non-standard architecture?” Although his focus is centred on architecture, he also weaves in the non-standard or mathematics. It is evident that Federic believes that architecture is not exploring its bounds in terms of complex forms and challenging the tradition of architecture.

Readings:

Migayrou, Frédéric, “The Order of the Non-Standard: Towards a Critical Structualism,”* in Theories of the Digital in Architecture, edited by Rivka & Robert Oxman (2014)

SHop/Sharples Holden Pasquarelli (2002), “Versioning,”* “Eroding the Barriers,” in The Digital Turn in Architecture 19922012, edited by Mario Carpo (2013)

Week 8 Readings

In Snooks article Self Organised Bodies, he explores “Swam Matter” and “Woven Composites”. “Swam Matter” is the exploration of ornamental generation. It investigates the relationship between shifting lines, components and surfaces. According to Snooks “while there is no hierarchies encoded into the “Swarm Matter” project, hierarchies arise as an emergent property of the system.” From this quote it can be extracted that through ornamental design and the application of complex geometries, there is a hierarchy that develops through the deliberation of the design.

“Woven Composites” is the exploration of complex topology, and woven fibre surfaces. In order to generate these kinds of topology, a multi-agent algorithm was developed. Linking bodies together can create a woven fibre structural core. This can be seen as an example of the shift from the consideration of surfaces being a uniform structure to surfaces being an assembly of different bodies.

Picon’s The Surface as Architecture, navigates through the idea of a hypersurface, a term coined by Architect and theorist Stephen Perella. Hypersurface is the term that describes the convergence between cyberspace and architecture considered as a surface of projection. Picon dwells in to the variation of hypersurfaces. In parts he compares them to signage and cultural factors such as fashion, evoking a sense of superficiality.

Furthermore he investigates George Liaropoulos – Lengendre’s opinion on surfaces and how they bear a form more so than a volume. As well as his view on surfaces “challenging the traditional more of presence of architecture… “Through this, Picon expresses that surfaces are challenging the idea of the interior and exterior. He claims that surfaces do not define a space when becoming enclosed, but holds potentials to create volumes as the surface flows along its varying inflections. 

Through the two articles it can be concluded that both Snooks and Picon see surfaces as a design element that holds a monumental amount of potential in its form, structure, design and ability to create space.

Readings:

Snooks, Roland/Kokkugia, “Self-Organized Bodies,”* in Architecture in Formation, edited by Pablo Lorenzo-Eiroa and Aaron Sprecher (2013) 

Picon, Antoine, “The surface as Architecture,”* in Digital Culture in Architecture: an Introduction for the Design Profession (2010)

Week 7 Readings

Picon explores materiality in A Different Materiality. He analyses natures materiality and how it envelopes the environment around us and thus is essential to materiality. His evaluation of the definition of materiality and its links to the First Industrial Revolution cycles back to human or natural material structure. He claims that “materiality is about the way we perceive materials, but also objects as stable persistent realities.”

Furthermore in Materials By Design he scrutinizes materiality and design scales, dimensions, and manipulation. He claims that through material evolution there has been a convergence between cutting edge projects, and neo avant garde production,
  
Picon’s article in Architecture and the Virtual: Toward a New Materiality explores the positive influences of technology and how to mechanization of society has led to a more advanced architectural age. He claims that architecture remains in its infancy and there is still a lot more to discover.

Through digitization architects are enabled to freely manipulate complex shapes and innovatively make design decisions. This means that the designer is no longer restricted and through the software can operate a range of preferences.

Picon makes references between hand drawings and CAD, and metaphorically, between walking and cars. Having the automobile represent technology he examines how once inside, the driver becomes a part of the automobile becoming mechanized himself. He claims “Rather than dematerializing the world we inhabit, the automobile has instead transformed our notion of materiality,” meaning that this technological outreach has further enriched society.

When using computers, the architect could be compared to a sculptor; working its clay and moulding a design. Technology gives the architect the freedom to manipulate static forms and geometry. They can also challenge the idea of scale i.e. parametric variations.
Picon concludes that computers have become engraved into society and has become a way of life. Unlike the automobile, computers are everywhere and ever growing as they expand their networks.

The second article explores Adams Kara Taylor (AKT) and the Optimisation Design team that focuses on the application of interactive software that provides a perception towards counter intuitive design issues. The process involves extracting the problem then developing algorithms to create pre-solutions. This software enables designers to create forms using undefined geometry.

Readings

 “Architecture and the Virtual: Toward a New Materiality,” New Technologies:// New Architectures (2004) Picon, Antoine

 “A Different Materiality,” “Material by Design,” in Digital Culture in Architecture: an Introduction for the Design Profession (2010)By Picon, Antoine 

 “Intuitive Material Distributions,” Architectureal Design by Panagiotis Michalatos, Sawako Kajima, and Adams Kara Taylor (AKT)

Week 5 Readings

In this article Hughes provides an introduction about society evolving with technology and how the US and Germany worked off each other to create a more technological world. He outlines that in Berlin the mechanization of society was a more mass produced collaboration of political influences. Whereas America had more engineers that were individually constructing technology.

He compares the opinions of several technology enthusiasts and their beliefs on the affect technology has had on humanity. Some believe that technology was a god given creation, however in contrast others believe that the mechanization of society has given people God like complexes and the deterioration for the need of God.

For example, Oswald Spengler, a German historian, implied that technology was triumphing nature and that we were losing our natural and cultural centre. Spengler “denies that the West were deploying technology to bring happiness…, but to devastate nature.”

On the other hand Lewis Mumford, an American public intellectual, regarded technology to be vital to maintaining an organic and healthy balance to the human spirit. He argued that using technology morally could produce a better world and we could become more balanced.

Charles Beard regarded mass production to be good and that it would lower economic class, reduce labour, and increased transport would increase workforce. He also mentioned that Europe began to see America as machines themselves as they became more immersed.

It is interesting to see that in the current excelled modern age we live in now where everyone embraces technology, the different opinions that were raised about the concerns and consequences. The article almost makes you rethink your position on technology and whether in the long run it has enriched society or enslaved it.
 
Readings:

Human Built World By Thomas P. Hughes “Technology As Machine”

Week 4 Readings

In “Morphogenesis and Emergence,” Mario Carpo outlines his introduction with an explanation in systems and emergence – emergence being the resulted form of something that could not be controlled in the original system. 

He summarises Menge’s theory about materials, their properties, and their ability to perform through deformation. Using digital modelling software these deformations are able to be calculated and digitally fabricated.

In Hight and Perry's "Introduction to Collective Intelligence," there is an exploration of the meaning of collective intelligence and the extent to which it is used. They divulge in collective intelligence being an infinite collective and how people are able to collaborate in different fields such as politics and create something diverse through multiple connections and knowledge.

Collective intelligence enables us to have access to key information, and in turn it has helped evolve technology further. They state that “we have tried to map out a heterogeneous network of interconnected practices and their concerns.” Through this network connection collective intelligence is exchanged and encouraged and it has become a reality that such adaptions to things such as organic LED displays are now possible.

It is fascinating to recognize that in both articles Carpo, and Hight and Perry talk about the digital providing solutions. In “Morphogenesis and Emergence” Carpo claims that digital modelling has the ability to now calculate the errors and deformations of structures that in previous years we could not calculate. Similarly in “Introduction to Collective Intelligence in Design,” Hight and Perry claim that the digital has enabled us to bring together different sources of knowledge which therefore can give way to new solutions. The link between these two leads to the digital and are only two examples of how powerful the digital really is.

Readings:

“Morphogenesis and Emergence,” and “Introduction to Collective Intelligence in Design,” - articles from The Digital Turn in Architecture by Mario Carpo