Week 9 | Materiality

A new group of designers are extending our understanding of materiality and material practice. Their experiments question the processes and use of materials in order to form new methods of space making and construction.

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As designers it is essential to extend design possibilities by enriching our understanding of materiality and material practice. It is this phase of adopting technology, a motive which expedites and transforms architectural practice that reinvents the role of the modern day designer and architect, where materiality can truly be scrutinised. Bernstein highlights the way that the, “DNA of the entire building process” – Bernstein, P (2008) Pg. 65 [1], is transforming as, “Digital modelling connected to fabrication is impacting the relationship between design and construction” – Bernstein, P (2008) Pg. 62 [2]. Menges further explores this notion by stating, “The way we conceptualise these material interventions – and particularly the technology that enables their construction – presents a fundamental aspect in how we (re)think architecture” – Menges, A (2011), pg. 198 [3], and the effects it has, “with broad social, economic, and cultural implications” – Kolarevic, B (2008) Pg. 21 [4]. This evokes our minds to the question, what is architecture now and how can we make it a reflection of the time we are in?

Delving rapidly into these advancements it is clear to see an increase in innovative structures and spatial qualities, that are seen as, “a mere extension of well-rehearsed and established design processes” – Menges, A (2011), Pg. 199 [5]. This has led to the exploration into the “cliché” of digital morphogenesis, where inspiration is drawn from biology – in particular the evolution of organisms – as a method of form finding in natural patterning systems. The mainstream idea is motivating designers to draw focus on material performance and processes over representation, “Thus the architectural object would be understood by means of its morphogenetic process and defined as a multiplicity rather than a type.” – Trummer, P (2011) Pg. 182 [6]. Ultimately redefining, “the relationship between architecture and material reality” – Kolarevic, B (2008) Pg. 21 [7].  

Leading us to explore the effectiveness of biomimicry with regards to the, “nature-imitating search for new material effects, based on biological precedents” – Kolarevic, B (2008) Pg. 10 [8], that digitally drive contemporary architectural approaches today into one that can, “Materially realize complex geometric organisational ideas that were previously unattainable” – Kolarevic, B (2008) Pg. 7 [9].

f i g  1  :  m a t e r i a l i t y  t h r o u g h  d e s i g n

This 3-D printed skin holds microbial life engineered to support humans. It is a hairy, fibrous surface that holds bacteria that can turn hydrocarbons into food. By MIT professor Neri Oxman, collaborated with German designers Christoph Bader and Dominik Kolb.

http://www.fastcoexist.com/3039286/these-crazy-bacteria-filled-spacesuits-may-be-what-let-us-survive-on-other-planets/9

f i g  2  :  m a t e r i a l i t y  t h r o u g h  a r c h i t e c t u r e

With inspiration drawn from the shell of the 'Namib desert beetle', a contradicting concept is discovered in relation to hydrophilic and hydrophobic attributes which assist in its ability to collect, and direct the natural flow of water. Servo integrates this unique design concept into its project Hydrophile Bioscience Innovation Centre where the same notion was portrayed in the form of a hydrodynamic vegetated roof.

http://code1110-2015-catherineerzetic.blogspot.com.au/2015/05/week-11-submission-analytical-models-of_22.html

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[3] [5]: Menges, A. (2011). Integral Formation and Materialisation: Computational Form and Material Gesault. Computational design thinking AD reader. A. Menges and S. Ahlquist. Chichester, UK, John Wiley & Sons: 198-210.

[6]: Trummer, P. (2011). Associative Design: From Type to Population. Computational design thinking AD reader. A. Menges and S. Ahlquist. Chichester, UK, John Wiley & Sons: 179-197.

[4] [7] [8] [9]: Kolarevic, B. and K. R. Klinger (2008). Manufacturing/ Material/ Effects. Manufacturing material effects: rethinking design and making in architecture. B. Kolarevic and K. R. Klinger. New York, Routledge: 5-24.

[1] [2] Bernstein, P. G., A. Inc and Y. University (2008). Thinking versus Making: Remediating Design Practice in the Age of Digital Representation. Manufacturing material effects: rethinking design and making in architecture. B. Kolarevic and K. R. Klinger. New York, Routledge: 61-66.

Week 1 | Analogue to Digital Sketching

Week 8 | Visualisation and the Image

Digital renderings have become a common tool in everyday practice for the presentation of design. 3D models developed in the computer also provide the ability to view, explore and critique formal propositions from the conceptualisation stages. Designers employ these types of images every day and they can have significant influence on the way design is developed and how we perceive the unbuilt. Walter Benjamin explored these visual implications and the changing meaning of the reproduction. Through the works of Benjamin and others, we can develop our appreciation of the power of the image.

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Digital renderings commonly implemented in architectural practice today, transform our perceptions of the unbuilt and design conceptualisations whilst also stressing their unique importance in the world. This shift from a mechanically orientated paradigm was transformed into a technologically based one during the 50 years after the world war. Now this revolving tradition of planimetric projection in architecture is “persisted unchallenged because it allowed the projection and hence the understanding of a three-dimensional space in two dimensions” – Eisenman, P (2013) Pg. 17 [1]. These viewing standards set by the architectural industry allow for personal judgement to be the driving factor of perceptions during the conceptualisation phase.

In regards to the reproduction of digital imaging, it is made clear that, “Man-made artefacts could always be imitated by men” – Benjamin, W (1936) Pg. I [2], ever so simply. Benjamin discusses this further by highlighting particular flaws of these types of approaches where he states, “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be” – Benjamin, W (1936) Pg. II [3]. Which emphasises the importance of the relationship between time and space between the static imagery and the world, as it stands as a staple in present day. These appropriated iterations are then deemed seductive and misleading, and is led by our unfolding perceptions which derive around, “The electronic paradigm [which] directs a powerful challenge to architecture because it defines reality in terms of media and simulation, it values appearance over existence, what can be seen over what is” – Eisenman, P (2013) Pg. 16 [4].

This complex notion of the digital image is further explored by Perez-Gomez as he establishes the deep importance of the availability of digital rendering in the design process. He states that, “Control is essential in our world: drawings, prints, models, photographs and computer graphics play diverse roles in the design process… they are surrogates or automatic transcriptions of the built work” – Perez-Gomez, A (2007) Pg. 11 [5].  As each drawing, print, model, photograph and computer graphic, relies on “reductive syntactic connections” – Perez-Gomez, A (2007) Pg. 12 [6], as they piece together an ideal projection of a “dissected whole” – Perez-Gomez, A (2007) Pg. 12 [7].

As architecture continues to rely on digital rendering as a common tool in practice, architecture must be challenged to deal with the forces of gravity, “to have ‘four walls’. But these four walls no longer need to be expressive of the mechanical paradigm. Rather they could deal with the possibility of these other discourses, the other affective senses of sound, touch and of that light lying within the darkness” – Eisenman, P (2013) Pg. 22 [8].

Wexner center by Peter Eisenman

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[2] [3] Benjamin, W. (1936). "The Work of Art in the Age of Mechanical Reproduction."

[1] [4] [8] Eisenman, P. (2013). Architecture After the Age of Printing. AD reader: The digital turn in architecture 1992-2012. M. Carpo. Chichester, Wiley: 15-22.

 [5] [6] [7] Perez-Gomez, A. (2007). Questions of representation: the poetic origin of architecture. From models to drawings : imagination and representation in architecture. M. Frascari, J. Hale and B. Starkey. London ; New York, Routledge: 11-22.

Week 7 | BIM and new technologies in practice

Through building information technology we see a major shift in the way buildings are conceived and delivered. The technology can offer a single platform for developing most design ideas into construction digital models. This lecture will discuss the cultural impacts of this technology in design practice.

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An example of different contributors to a traditional building information model.

http://www.varisys.com/vs2007/images/BIM_Cycle.jpg

The “asynchronous manner” – Holzer, D, (2011), Page 477 [1], that designers, consultants and the contractors operate in has been simplified with the introduction of building information models. Building information models have merged into a single platform - or hub - which becomes an important information exchange mechanism, particularly for the project execution plan. Marble, S, in his, “Digital workflows in architecture”, addresses this further with Bernstein’s acknowledgment that “BIM and IPD were not developed to encourage innovative design, but rather to address procedural inefficiencies” – Marble, S, (2012), Page 73 [2].

It is about adopting, “an entire process change that impacts nearly all activities related to the planning, delivery and operation of buildings on a social, a business and even political level” – Holzer, D, (2011), Page 466 [3], that will refine projects in practice, widen participation and democratise design. It should be a, “workflow for exploration rather than exploitation” – Benjamin, D (2012), Page 23 [4], one that seeks multiple best-performing designs – known as Pareto-efficient designs – as we use algorithms and digital processes to debate values. Values of which should be inclusive of, “a larger collective beyond design professionals. Artists, philosophers, residents and citizens of all backgrounds could join the discussion and debate” – Benjamin, D (2012), Page 23 [5]. As these “Pareto-efficient designs could be understood as the exact location where computation meets design-as well as where computation meets society, politics and even culture” – Benjamin, D (2012), Page 24 [6].

Benjamin, D, in his, “Beyond Efficiency”, delves into the way that architects should be contributing to the developments of design programs that assist them in everyday practice. This is as they begin to develop the scientific mind - that of an engineer - by utilising very scientifically based tools. Almost as if they have gained the scientific language learned from becoming proficient with tools, “written by programmers whose training… comes from [a] very scientific, engineering-based mindset” – Benjamin, D (2012), Page 18 [7]. It is for this reason he stresses how, “designing the design is designing the algorithm” – Benjamin, D (2012), Page 18 [8]. It is because, “machines and humans both make errors, but the errors of machines are easy to compute, while the errors of humans are difficult to encapsulate in a formula” – Benjamin, D (2012), Page 21 [9].

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[1] [3] : Holzer, D. (2011). "BIM's Seven Deadly Sins." International Journal of Architectural Computing 9(4): 463-480.

[4] [5] [6] [7] [8] [9] : Benjamin, D. (2012). Beyond Efficiency. Digital workflows in architecture: designing design -- designing assembly -- designing industry. S. Marble. Basel, Birkhäuser: 14-25.

[2] : Marble, S. (2012). BIM 2.0. Digital workflows in architecture: designing design -- designing assembly -- designing industry. S. Marble. Basel, Birkhäuser: 72-73.