Week 7

In architecture, materials are one of key aspects based upon aesthetics, programming and performance, however it can be argued that computers have taken those aspects away as observed by Antoine Picon’s journal about how technology has impact the traditional practice of architecture. It is true that digitalization allows the architect to manipulate extremely complex forms and freely envision design modifications but what is more beneficial for the future is the question. Picon highlights this fact by comparing computer and hand design in the contrast between a walk and a car ride, in the sense that it is there to be used by the human being whether he has the technique to do it or not.  Computation design compared to the traditional practice is on a really broad level where some elements cannot be done by hand such as reflectivity and transparency or the instant manipulation of texture and lighting.

Digital architecture allows users the freedom of envisioning their personal designs come to life on the screen, however many architects don’t figure out its materiality until it’s too late. The traditional materials used in architecture could be classified as concrete, wood or steel as the most common ones but materials play a big part in the final design in many fields of architecture such as environmentally friendly or for it to be adaptive. Michael Weinstock researches on emergent technologies and new materials that can be incorporated in structures and buildings. The Watercube for example contains a total of four thousand “bubbles” in which variations are shown in the roof and walls. These “bubbles” were derived from soap bubble arrays, despite it being random the structure was highly rational and economically affordable. Computation design allowed the Watercube to be realized due to scripting and 3D modeling the structural integrity through 22000 steel members and 1200 nodes.  

Water Cube (2008) - PTW Architects and ARUP

Week 5

The so called machine age was brought upon due to mechanization and innovation, we can date these back to World War I and industrial revolutions where technology and the mass production has been incorporated in a modern economic and social context. One of the key figures during these times was Henry Ford, an American industrialist and founder of the Ford Motor Company. He is credited with the term ‘Fordism’: in which mass production of inexpensive goods coupled with high wages for workers. This allowed the working class to afford technology such as automobiles through the means of labor. The rapid growth meant that unemployment was a leading problem which led way to the ideas of mass architecture in public housing in the Soviet Union. Leon Troksty, the leader behind the revolution wrote “Technological enthusiasts expected the machine to fulfill their visions, much as enthusiasts today envision the computer bringing a longed-for world.” This quotation leads back to today’s society where technology is abundant and crucial in our daily lives.

The digital age has given us personal computers however in Mckenzie Wark’s critical manifesto dubbed ‘A Hacker Manifesto’ Ward criticizes the commodification of information in the age of digital culture and globalization. Wark refers ‘hackers’ as creators who can bring new ideas into the world and this new information derives from the ‘hack’, Wark believes that whether you’re not a computer programmer or designer, any sort of information that is produced new is crucial however it is up to us on how we produce, distribute and consume these information. 

Week 4

Computing in architectural has various shifts in form and identity throughout the 90s.Dating back in 1993, an essay published by Greg Lynn, an architect who is distinguished for his use of computer-aided design to produce irregular, biomorphic architectural forms. Lynn believes that during the period within the introduction of computers, he notes that deconstructive architecture operates with ‘a logic of conflict and contradiction’, whereas folding architecture foregrounds ‘a more fluid logic of connectivity’. Lynn reinstates this through his quote “If there is a single effect produced in architecture by folding, it will be the ability to integrate unrelated elements within a new continuous mixture” Folding architecture creates continuities between site and structure whilst deconstruction architecture induce conflict between the structure and site.

Moving on to a more modern phase in the digital era of computation design is the introduction of building information modelling. BIM came into use in the early 2000s to designate software for construction and building management and cost control.  Dubbed ‘A New Global Style’ an essay written by Patrik Schumacher, an architect from the renowned Zaha Hadid Architects defines parametricism as a ‘solid new hegemonic paradigm’ born of and suit to postindustrial society. He believes that the mathematics behind parametricism is the best solution to manage variability due to its design and mass produce variation capabilities. The vast world of parametric design is endless due to the continuous advancement and sophisticated design approach through computer generated geometry as more complex forms are becoming a reality. 

Week 3

We live in a society today where computers are utilized daily in such ways that in the past have never done before. The computer is a powerful tool that users can take advantage of however Kostas Tezidis , author of ‘Algorithmic Architecture’ believes that designers do not take advantage of the computational power of the computer. Computers have integrated into architectural design in the early years with CAD software, graphical systems and parametric design. All these computer aided design allows its users to understand how systems form and how it mathematically operates. This quote illustrates the idea of understanding their operations in architectural graphic systems. ‘With the help of computer-aided models, the designer will be able to predict the performance of any design alternative he may generate.’ Computation design thinking is endless as we are forced to question how people think and how design evolves, as Tezidis states how ‘computers must be acknowledged not only as machines for imitating what is understood, but also as vehicles for exploring what is not understood.’