Tuesday, February 28, 2012
Sunday, February 19, 2012
Friday, February 17, 2012
Sunday, February 12, 2012
Contemporary Techniques in Architecture by Ali Rahim
Ali Rahim makes the argument from his point of view that contemporary architecture is capable of existing in a symbiotic relationship with the user through multi dimensional programmatic applications of it's usable space. In order to develop a refined solution at the construction phase of the design process, an iterative series of events must take place that studies the physical context, as well as the qualitative spectrum of human actions that could influence the space on a given occasion. He argues that while some in the profession may utilize digital means as a tool for greater efficiency, his personal paradigm is to harness the capabilities of digital technology in order to strength of the depth and adaptability of contracted designs to contemporary culture. He also argues that architecture can be a catalyst for altering the habits of the individuals who typically interact with the architecture through the modification of their typical behavior. This is achieved through the iterative process of manipulating the form of the building to adapt to the pressures that have been predetermined by the environment and the design team. The buildings' profile not only adapts to the human inhabitants, but also the flora and fauna that pose boundaries and opportunities for adaptive programming and building performance enhancement.
When reading this article, I was reminded of a principle presented by Lebbeus Woods in his book, "Envisioning Architecture," where he urges contemporary designers to expand their interests beyond that of architecture. Woods himself was keen on cybernetics, which can be understood through the expression of much of his work.
Neil Denari worked for Airbus after graduating from architecture school, and the time spent in the airline industry can be clearly read among the exterior detailing of his facades, wrapping skins, structural systems and inset glazing motifs.
I would suggest, after conducting a brief background search of Ali Rahim, that he allow his external interests beyond architecture to influence the projects he's apart of, since it's an unconvincing argument that we as architects have the pedagogy of an anthropologist, and should be "deciding" the path of those within generically programed spaced, meaning those spaces which aren't in need of overt circulation separation plans. (i.e. Airports, racetracks). Their seems to be an air of premature enlightenment concerning the manipulation of human order, which is masked by a remedial understanding of digital technology instead of a comprehensive study of human activity, which I might argue would he impossible to achieve. These types of design interventions seem to be more successful at the micro scale, such as in the work of Kram Weisshaar's Breeding Tables project. When working within the confines of a predetermined space that must reside within a larger entity, the constraints of the project can be simply rationalized, and the resulting product is then judged relative to the multitude of iterations that take place through the algorithmic medium.
When reading this article, I was reminded of a principle presented by Lebbeus Woods in his book, "Envisioning Architecture," where he urges contemporary designers to expand their interests beyond that of architecture. Woods himself was keen on cybernetics, which can be understood through the expression of much of his work.
Neil Denari worked for Airbus after graduating from architecture school, and the time spent in the airline industry can be clearly read among the exterior detailing of his facades, wrapping skins, structural systems and inset glazing motifs.
I would suggest, after conducting a brief background search of Ali Rahim, that he allow his external interests beyond architecture to influence the projects he's apart of, since it's an unconvincing argument that we as architects have the pedagogy of an anthropologist, and should be "deciding" the path of those within generically programed spaced, meaning those spaces which aren't in need of overt circulation separation plans. (i.e. Airports, racetracks). Their seems to be an air of premature enlightenment concerning the manipulation of human order, which is masked by a remedial understanding of digital technology instead of a comprehensive study of human activity, which I might argue would he impossible to achieve. These types of design interventions seem to be more successful at the micro scale, such as in the work of Kram Weisshaar's Breeding Tables project. When working within the confines of a predetermined space that must reside within a larger entity, the constraints of the project can be simply rationalized, and the resulting product is then judged relative to the multitude of iterations that take place through the algorithmic medium.
Constructed Morphology
When the series of panels are arranged in an overlapping arrangement, a screen emerges that allows pockets of light to pass through at the face of the undulations along the x axis. While the longitudinal profile alters relative to each individual panel, the side elevation reveals a homogeneous profile that provides a sense of continuity for the overall screen.
Saturday, February 11, 2012
Surface_Manipulation_Study
The study originates with a component of modeled object, and it's manipulated along its' perimeter by an exponent of 3 along the x, y and z axis. When placed within the grid matrix, the sequential disintegration of the recognizable car door leads to a panel that has doubled in scale, and contains multiple undulations along it's x axis. The wire frame highlights the alterations through the inscription upon the surface, which the massing conveys the newly forged depth of the panel.
When perceived from a perspective, the surfaces reveal the great depth that has been forged through the linear operation. When perceived from angular view port, the patterns appear to change in profile, thus insinuating the presence of a unique surface depending on the vantage point of the viewer, and their point in space.
Sunday, February 5, 2012
Warped Space by Anthony Vidler
In the excerpt from Warped Space, Anthony Vidler described two distinct scenarios and how each could be categorized as warped space. One such setting is depicted as a post apocalyptic world marred by scortched landscapes, and the other a Utopian world cluttured with sentimentality. Within the boundaries of the post apocalyptic society, which is inherently more descriptively interesting, the physical structure of society has been warped, leaving us with unexpected normalities of a future plagued by a Mad Max archetypal chaos. The other category of warped space is that of the symbolic Utopian society that adores the relics of the seemingly glorious past. Within this construct, space is not warped by physical means, but instead it is warped by the individuals who exist within the space. No catastrophic event has taken place, nor does the threat of such an event even exist. Instead, individuals blindly adhere to the established scenery, and qualify their own contemporary existence through the vestigial past.
Vidler makes the argument that warped space is based upon one's own perceptions, whether they be positive or negative. A negative mindset towards one's surroundings can be the catalyst for change within the physical construct, but the two forms of spatial warping would have two distinct results. Those who fall under the category of the, "Death Cube," would be inclined to perceive the world as debauched, and any positive action that is founded upon one's personal belief of the correct solution would ultimately be perceived as a narcissistic and self fulfilling. On the other hand, the Utopian perspective would follow a path based upon established traditions, where any new ideas would be challenged against a widely accepted precedent.
Vidler makes the argument that warped space is based upon one's own perceptions, whether they be positive or negative. A negative mindset towards one's surroundings can be the catalyst for change within the physical construct, but the two forms of spatial warping would have two distinct results. Those who fall under the category of the, "Death Cube," would be inclined to perceive the world as debauched, and any positive action that is founded upon one's personal belief of the correct solution would ultimately be perceived as a narcissistic and self fulfilling. On the other hand, the Utopian perspective would follow a path based upon established traditions, where any new ideas would be challenged against a widely accepted precedent.
Probable Geometries: The Architecture of Writing in Bodies by Greg Lynn
In the excerpt, Greg Lynn attempts to convey the notion that a corollary should existing between the architectural profession and the writing profession in order to strengthen the theoretical underpinnings of didactic strategies that dictate architectural design. He argues that writing more often than not tends to be anexact, whereas architecture is an exact science, limited by symmetry, geometry and ordering systems. According to Bataille and Hollier, if architects were to shed their preconceived notions of formal boundaries, fruitful endeavours into the explorations of, "Transgressive," components of design could yield enchanting results. Lynn goes on to dissect the nature of these transgressive elements, stating that while it may be difficult to diagram a blob at the macro scale, micro scale components could be capable of formal dissection through the use of descriptive geometry.
While Lynn seems to lack intrigue over the current state of formal design, I would argue his concepts are soulless and form based, which obsess over the object rather than the experience. When reading a novella from generations past, one can place themselves within the confines of 1960s England in the case of A Clockwork Orange, or The United States during the Cold War in the case of Harrison Burgeron. The understanding of these time sensitive settings plays just as important a role as the prose used by the author, which leads to certain pieces of literature becoming transcendental pieces of fiction that define a moment in history. The Arts and Crafts Museum in New York City successfully captures the motifs of its' namesake period in the exterior expression of its' facade, and it has since been heralded as a masterpiece by the architectural community. Zaha Hadid's foray into the digitalism realm has left use with muddled urban ensembles that reject the eons of cultural history that lay beneath her graded foundations, and instead of celebrating the individuals who will create the building, she instead celebrates the machine that creates the blobs. Her ostentatious designs remind a local populous that Zaha was here, but does little to reinforce the cultural heritage or site specific importance that a building should embody.
While Lynn seems to lack intrigue over the current state of formal design, I would argue his concepts are soulless and form based, which obsess over the object rather than the experience. When reading a novella from generations past, one can place themselves within the confines of 1960s England in the case of A Clockwork Orange, or The United States during the Cold War in the case of Harrison Burgeron. The understanding of these time sensitive settings plays just as important a role as the prose used by the author, which leads to certain pieces of literature becoming transcendental pieces of fiction that define a moment in history. The Arts and Crafts Museum in New York City successfully captures the motifs of its' namesake period in the exterior expression of its' facade, and it has since been heralded as a masterpiece by the architectural community. Zaha Hadid's foray into the digitalism realm has left use with muddled urban ensembles that reject the eons of cultural history that lay beneath her graded foundations, and instead of celebrating the individuals who will create the building, she instead celebrates the machine that creates the blobs. Her ostentatious designs remind a local populous that Zaha was here, but does little to reinforce the cultural heritage or site specific importance that a building should embody.
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