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?
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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
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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. |
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.
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r e f e r e n c e s
[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.
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