Monday, May 4, 2009
Sunday, May 3, 2009
Sunday, April 5, 2009
Abstract 3
This chapter by Tierney Therese addresses the use of digital design as a tool to be used in architecture and explores its applications and limits. The importance of relying on algorithms to create a coherent digital design morphology in a scheme is emphasized. Digital design is not merely another way to draw lines, but a platform for generating iterations of a scheme until a final iteration is reached. With its significant advantages in the practice of architecture, digital tools will pave the way for the future of the industry.
Another major factor is temporality, and understanding architecture not only as static instances of time in a spectrum, but as an endless duration that is constantly moving. This is one aspect of design that has evolved recently, and turned the process into a much more intelligent one than what it was in the past. Design now requires research and collaboration.
Increasingly architecture is not exclusively perceived as working with static objects. Any object changes over time, and only appear in stasis due to the restricted time frame they are perceived in. Acknowledging change is a key concept in design now, and digital design methods facilitate this goal.
The difficulty of these principles is putting them into practice. Change can naturally occur within the design process and some temporal aspect can be given to iterations of a project, but to actually make a project change and interact with its environment to a greater degree than just standard environmental shielding is difficult.
Another major factor is temporality, and understanding architecture not only as static instances of time in a spectrum, but as an endless duration that is constantly moving. This is one aspect of design that has evolved recently, and turned the process into a much more intelligent one than what it was in the past. Design now requires research and collaboration.
Increasingly architecture is not exclusively perceived as working with static objects. Any object changes over time, and only appear in stasis due to the restricted time frame they are perceived in. Acknowledging change is a key concept in design now, and digital design methods facilitate this goal.
The difficulty of these principles is putting them into practice. Change can naturally occur within the design process and some temporal aspect can be given to iterations of a project, but to actually make a project change and interact with its environment to a greater degree than just standard environmental shielding is difficult.
Tuesday, March 17, 2009
Abstract 4
ADGM 320 Emile LeJeune
Abstract 4 3.17.2009
Tectonics vs. Topology
The opposition between tectonics and topology is not a mutually exclusive relationship, as topology, or blobs, are not the antithesis to tectonics, but an aid that fills the voids of gaps left in the tectonic form. The blob is the ideal of a unique form, dynamic and independent. Surfaces that move through space unhindered, and constantly adapting and changing with its environment. They are not merely objects, but trajectories with no influences, creating complexities and connections, whereas the tectonic reduces a system to its bare identity.
These implications should cast aside notions that buildings are meant to stand vertically in their structural systems, as humans do, but the practical implications must also be considered. This is evident in the application of topological or blob forms in actual construction which has been mostly limited to roof design rather than entirely inclusive architectural design. In the case of the Yokohama International Port Terminal by FOA, a topological design is used in the organization of the site and flexibility of the slabs in the construction. The sketches implicate the use of a Cartesian grid which is modified and altered to fit the needs of the program, progressively meshed into a topological surface, created in practice by the truss roof structure reflecting across the site at the roof level with a morphing surface.
Other projects use a rationalist approach of standardizing construction through the use of fabricated members to create an easily replicated form, yet they also diversify the dimensions of the standard members, creating progressive iterations to influence the evolution of the building. This creates one form that unifies the entire program of a building under one overlay to create connections and a trajectory, in much the same way that blobs do. By changing the members, which in turn change the form of the building, spaces can be distinguished according to organization and use. The replication of construction members is similar to the notion that blobs are not multiplicities of form, but a progression of morphing shape.
The actual practical implications of tectonics vs topology in architecture, is the juxtaposition of rectilinear comprehensible massing forms to the dynamic variables which humanize and disperse the rigidity of the object. The two together create a coherent whole, while each independently may result in uninspired forms.
Abstract 4 3.17.2009
Tectonics vs. Topology
The opposition between tectonics and topology is not a mutually exclusive relationship, as topology, or blobs, are not the antithesis to tectonics, but an aid that fills the voids of gaps left in the tectonic form. The blob is the ideal of a unique form, dynamic and independent. Surfaces that move through space unhindered, and constantly adapting and changing with its environment. They are not merely objects, but trajectories with no influences, creating complexities and connections, whereas the tectonic reduces a system to its bare identity.
These implications should cast aside notions that buildings are meant to stand vertically in their structural systems, as humans do, but the practical implications must also be considered. This is evident in the application of topological or blob forms in actual construction which has been mostly limited to roof design rather than entirely inclusive architectural design. In the case of the Yokohama International Port Terminal by FOA, a topological design is used in the organization of the site and flexibility of the slabs in the construction. The sketches implicate the use of a Cartesian grid which is modified and altered to fit the needs of the program, progressively meshed into a topological surface, created in practice by the truss roof structure reflecting across the site at the roof level with a morphing surface.
Other projects use a rationalist approach of standardizing construction through the use of fabricated members to create an easily replicated form, yet they also diversify the dimensions of the standard members, creating progressive iterations to influence the evolution of the building. This creates one form that unifies the entire program of a building under one overlay to create connections and a trajectory, in much the same way that blobs do. By changing the members, which in turn change the form of the building, spaces can be distinguished according to organization and use. The replication of construction members is similar to the notion that blobs are not multiplicities of form, but a progression of morphing shape.
The actual practical implications of tectonics vs topology in architecture, is the juxtaposition of rectilinear comprehensible massing forms to the dynamic variables which humanize and disperse the rigidity of the object. The two together create a coherent whole, while each independently may result in uninspired forms.
Monday, March 16, 2009
Tuesday, February 17, 2009
Abstract 2
Techniques and Technology/Temporality and Time
Innovations in technology and materials and their applications in history is what leads to large changes in the way architects design. Defying convention and moving the field forward with new techniques of design is what defines unique architecture. But not only does technology pave the way for new techniques in architecture, individual technological landmarks develop and become more efficient tools. Techniques usually derive from fields not necessarily related to the construction of buildings, but can also be discovered in developments in other professions or even phenomena in nature. Technologies are useful for making the practice and application of architecture more efficient in terms of process, but they may not necessarily be used for design tools. CAD is useful for precisely drawing construction documents, but is not necessarily the best tool to facilitate a creative process as 3d modeling has been used recently. 3d modeling however also runs the risk of being a commonly used tool to quickly illustrate details of form rather than a tool to synthesize a scheme through iterations of design through transformations.
Temporal issues in architecture are generally destructive forces that negatively affect a building, but can also be utilized in the design process. Using two pseudo-scientific interpretations of the properties of time, it can be concluded that paths can be reversible producing an identical effect with a differing directional quantity in the vector, but a process, when inverted, creates a different effect. The process itself is mirrored and thus different, such as a physical state change of molecules. These two methods can be utilized in design in the way of studying the differences in form of an object over time. Through analyzing such changes, design can be influenced to produce unique concepts.
Innovations in technology and materials and their applications in history is what leads to large changes in the way architects design. Defying convention and moving the field forward with new techniques of design is what defines unique architecture. But not only does technology pave the way for new techniques in architecture, individual technological landmarks develop and become more efficient tools. Techniques usually derive from fields not necessarily related to the construction of buildings, but can also be discovered in developments in other professions or even phenomena in nature. Technologies are useful for making the practice and application of architecture more efficient in terms of process, but they may not necessarily be used for design tools. CAD is useful for precisely drawing construction documents, but is not necessarily the best tool to facilitate a creative process as 3d modeling has been used recently. 3d modeling however also runs the risk of being a commonly used tool to quickly illustrate details of form rather than a tool to synthesize a scheme through iterations of design through transformations.
Temporal issues in architecture are generally destructive forces that negatively affect a building, but can also be utilized in the design process. Using two pseudo-scientific interpretations of the properties of time, it can be concluded that paths can be reversible producing an identical effect with a differing directional quantity in the vector, but a process, when inverted, creates a different effect. The process itself is mirrored and thus different, such as a physical state change of molecules. These two methods can be utilized in design in the way of studying the differences in form of an object over time. Through analyzing such changes, design can be influenced to produce unique concepts.
Tuesday, February 3, 2009
Reading 1: Digital Morphogenesis
Reading 1:Digital Morphogenesis Emile LeJeune
ADGM 320
Only in the past two decades out of the enormous spectrum of time architecture has been around has design started to shift from physical design method and representation to almost exclusively digital processes for some prominent firms. This change has brought many new methods of designing from computational processes. From digitally influenced development, many unique projects that break the bounds of traditional architecture practiced in the past.
The danger of this shift is that design may be derived from arbitrary sources and evolve only within the limitations of a program's sparse functions. Without well-informed design, architecture can transform into worthless manipulation of numbers without relevance to the project in question. Digital design should rely on using the power available in modeling programs to create groundbreaking schemes rather than just 'playing with shapes.'
As long as designers are aware of these pitfalls and avoid them, digital design is a potent tool for creating dynamic architecture that doesn't start with a plan drawing and grows from the base to become a static object. Digital design allows for manipulation of forms with the ability to immediately see the results and implications of changes.
Architecture in the past has relied on Euclidean geometries as inspiration for traditional form in design. A sort of vernacular in a sense that all architecture derives influence from regardless of the true cultural vernacular. Digital design partly uses Euclidean geometries to manipulate, but also gives the possibility of mathematically based non-euclidean geometries.
Design cannot solely rely on one method, it must rely on multiple tools, both digital and physical to create a well-informed and soundly based scheme. Digital tools are just that, tools, not design factories.
ADGM 320
Only in the past two decades out of the enormous spectrum of time architecture has been around has design started to shift from physical design method and representation to almost exclusively digital processes for some prominent firms. This change has brought many new methods of designing from computational processes. From digitally influenced development, many unique projects that break the bounds of traditional architecture practiced in the past.
The danger of this shift is that design may be derived from arbitrary sources and evolve only within the limitations of a program's sparse functions. Without well-informed design, architecture can transform into worthless manipulation of numbers without relevance to the project in question. Digital design should rely on using the power available in modeling programs to create groundbreaking schemes rather than just 'playing with shapes.'
As long as designers are aware of these pitfalls and avoid them, digital design is a potent tool for creating dynamic architecture that doesn't start with a plan drawing and grows from the base to become a static object. Digital design allows for manipulation of forms with the ability to immediately see the results and implications of changes.
Architecture in the past has relied on Euclidean geometries as inspiration for traditional form in design. A sort of vernacular in a sense that all architecture derives influence from regardless of the true cultural vernacular. Digital design partly uses Euclidean geometries to manipulate, but also gives the possibility of mathematically based non-euclidean geometries.
Design cannot solely rely on one method, it must rely on multiple tools, both digital and physical to create a well-informed and soundly based scheme. Digital tools are just that, tools, not design factories.
Thursday, January 29, 2009
Tuesday, January 20, 2009
Digital Architectural Practices:
Zaha Hadid
Joshua Avist, Josh Mings, Emile LeJeune
Zaha Hadid in her Mobile Art Gallery for Chanel strives to represent the richness and sensuality of the Chanel brand through the use of digital design to create layers wrapping the mass of the structure and bringing it together as a cohesive whole. The fluid form of the gallery is clearly developed through digital design with a process using multiple iterations of chosen form created and modified with 3d modeling programs. In the use of these programs, Zaha Hadid is able to judge the impact of the sun more easily on the design . Through the use of skylights in the ceiling over the central courtyard and clerestories she is able to bring in light into the form which was first measured through the use of 3d modeling programs to ensure the right amount of light is allowed into the gallery spaces of the building.
A structure such as the one found in the gallery can only be analyzed and modified through the use of digital design tools, without which such an unconventional structure would not be possible. The use of these design tools allows for the analysis and control needed to create a structure which works with the form and concept of the space and allows for the individualization and fabrication of each of its parts.
Through the use of 3d modeling Zaha Hadid was able to pick out a material for the skin that was reflective that allowed her to project images and colors onto an already dynamic form, thus making it more dynamic and sensual. These digital design tools also allow for the creation of each individual panel of the skin as they are integrated to the structure. This material is used throughout the building and through its fabrication with digital design tools, further enhances the concept of sensuality that is associated with the Chanel brand.
In Hadid's presentation drawings, she tends to show her 3d models on a black background, with little context or sense of scale to focus on the sculptural qualities of the designs. This tends to show that the buildings are meant to draw attention to themselves and are meant to be objects in space rather than integrating themselves into the landscape to create a cohesive whole. This style of design is common with digital practice, creating an abstraction of ideals and funneling them straight into the form of the building to create a truly unique experience for the user.
ZahaHadidBlog.com
Joshua Avist, Josh Mings, Emile LeJeune
Zaha Hadid in her Mobile Art Gallery for Chanel strives to represent the richness and sensuality of the Chanel brand through the use of digital design to create layers wrapping the mass of the structure and bringing it together as a cohesive whole. The fluid form of the gallery is clearly developed through digital design with a process using multiple iterations of chosen form created and modified with 3d modeling programs. In the use of these programs, Zaha Hadid is able to judge the impact of the sun more easily on the design . Through the use of skylights in the ceiling over the central courtyard and clerestories she is able to bring in light into the form which was first measured through the use of 3d modeling programs to ensure the right amount of light is allowed into the gallery spaces of the building.
A structure such as the one found in the gallery can only be analyzed and modified through the use of digital design tools, without which such an unconventional structure would not be possible. The use of these design tools allows for the analysis and control needed to create a structure which works with the form and concept of the space and allows for the individualization and fabrication of each of its parts.
Through the use of 3d modeling Zaha Hadid was able to pick out a material for the skin that was reflective that allowed her to project images and colors onto an already dynamic form, thus making it more dynamic and sensual. These digital design tools also allow for the creation of each individual panel of the skin as they are integrated to the structure. This material is used throughout the building and through its fabrication with digital design tools, further enhances the concept of sensuality that is associated with the Chanel brand.
In Hadid's presentation drawings, she tends to show her 3d models on a black background, with little context or sense of scale to focus on the sculptural qualities of the designs. This tends to show that the buildings are meant to draw attention to themselves and are meant to be objects in space rather than integrating themselves into the landscape to create a cohesive whole. This style of design is common with digital practice, creating an abstraction of ideals and funneling them straight into the form of the building to create a truly unique experience for the user.
ZahaHadidBlog.com
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