Professional Documents
Culture Documents
Digital Culture in
Architecture
the
Rn rntroduct ron
DesLgn professLons
2 q JUN
2010
li,
Birkhiiuser
Basel
Introduction
Pcoplc, Computero and Architecture: A Historical Oveniew
etrtergence
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Experiments in Form and Performance 59
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Digital architecture's formal and cornpr.tt:ttior r:t l t'rpt li t t tt' l :, u i n r', 1'
arable from a series of changes that h:rve:ilfcctcd tt'c'lttrolor',r' ttr llr, 1' ,
decades. These changes are not only a nratter of ittttov;tti,,tr', ltl ' rl,
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" rrr,lrvrrlrr;rls".1 Itt c'ollllllctc (:()lltrest t() lllxlly oIthcir tirrcrttttltcrs' sttt:lt
charlctcr iD Enrile Zolrr's
.r., tlrt. l()r.ttnrotivc thet:rppetrs as a fully-fledgccl
effltlrcsce tlcc
il,rrrt'1. I-rr lllttt F{uttainL:,a their existence appears as a l)lero
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Mi
l\,41
no
a
"individual",
See
t) t)
Martin Pawley, Btckminster Fuller (London:' l'u'liil, l 0),
y'l
I cantt)tlr;, llll'0 I ii
technolo1jical
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Locomotive.
illY
tr.r,lrriOrral
nefwork needs
.rlrz.rtiott through quasi-objects like terminals' A wireless
to its users'
present
fully
l, I r r r rstallce computers or cell phones to become
itlxttltlrrt\l, Mll,
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(,\lnill IluitIt'ity 1t"", lt)')t')
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d['
Another disturbing
.rspect oFthe present situation
onsidered as superstructural.
network
lt)[J()).
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Protein Lilllkxl
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cybernetics or neo-cybernetic models are probaRev6lutign
bly no longer relevant to understand contempotechnologicat sysrem,
like historians
rary technology. More iraditional systemic approaches
l:tT":'T:?1.:'I:.
(eoltor)' fl/sru/re ues - '
nn.,*+.I.i,c nr
';;';;:irir;
Bertrand Gille's attempts to clescribe technologior Rcrrrrr
Lewis Mumford's
sibiiothdqr.oe lu
., .rrolution as a series of systems are even less satisfying. While the
simplilied diasram
the First lndustrial
Pleiade, 19/u. (9
Edirions
According to
the
iJ:ffiilr'J'J:T;J,
First
as a
system based
no lirnited
"l"m"rtsenwironment'8
[:H:Xl3i[i',$ff,. sprawling technological
use
was based on the '
Dlaling witha seamless technological world' it is tempting to
this
interactions between
1
and history' For
anarytical catelories borrowed to landscape theory
three fundamentat
transitions' has
smooth
and
presence
elements: coal, iron environment, with its pervasive
Its neta
system'
with
steam
the
than
and
more features in common with a landscape
engine. sllcn a
.
quasiby
analogous to a topography punctuated
simplified sysremic works and fields are
by
description is hard t0 obiects like terminals, just like an ordinary countryside is animated
be misg.irr", and cottages. But mentioning the countryside here may
Giile, the
uclirrg, bct::rusrr 111q 1:llrrtr'rrrporary tcchnologiclrl lnrrclsc:apc is firndlrrrrcntally urben, alrnr>st identical to the city. Even ir: the nrost relnotc:
places, in secluded mountain valleys for instance, some of its most
ernblematic devices like computers and cell phones can generate an urban
bubble, a kind of "instant city" rcpTacing its users in the metropolitan
rhythm like Archigram's eponymous project.e To envisage the ciry as a
landscape has become moreover one ofthe most promising paths towards
the much-needed renewal of urban thinking.tolust like key technologicaT artifacts, beginning with the computer, appear less and less as geometrical and mechanical assemblages, the city is no longer manageable
in terms of urban composition or even urban zoning. Its future seems
le
to lie in approaches merging seamlessly different and often contradictory dimensions, like the visually disordered and the carefully planned,
or the productive and the pleasurable.
Contrary to the critical distance or disinterestedness that was presupposed by former landscape aesthetics, by Kantian theory in particular,11 the contemporary technological landscape does not imply a neutral distance on the side ofthe subject that perceives it; it requires to the
contrary a commitment from him. This landscape is indeed inseparable
fi'om the redefinition that affects the subject. 'W'e have already seen a
number of possible characterizations of the new subject that is emerging today, like the cyborg that presupposes a link bet\,veen man and technology so intimate that it leads to their hybridization. The cyborg
hypothesis might very well represent a convenient starting-point to
simultaneously reexamine technology and the city.tz Notions of spatially distributed subjectivity and affect rnay clearly indicate why Kant's
disinterestedness is clearly out of the question when dealing with contemporary technological landscape. How could today's individuals contemplate from outside a scene that is in continuity with their inner self?
l)igital architecture and its advocacy of mediated and distributed sub.iectiviry is in that respect paradigrnatic of the new relation that prevails
lretween man and his technological and urban environment.
3:l[H#,'x,,
technolog}/.
7
8
kwk
seeJor instance:
MumJord,rechnics and
*,ir?i,",T03"i:r;:;;:ri;7,;:r:":";1:;::;:;:;r,;;::;i,tr?,,::z;;;i
civiliz*ion 1N"*io'u'
uo'*'t'f'rfrfrfnf,';,'3i"?;!"K"4""7*:r"l::i*r\':r';!
glnstantCitywasthenameoJalg6SprojeamadepossiblebytheGrahomFo,undation.PeterCook(ed.),Archigrarrr
oJ this proiect - *rli;:::lr:::,t:!r::i:r.*::;,:;
vista, 1922), p 86 in plartkular. 6n'the paradigmatk ch)rutter
(London: studio
l0
Charles Waldheim (ed.), Tlr,e Landscape IJrbanism Reader (Neu York: Pinceton Uniuereity Pres, 2006).
Coat Trait6 du Ptystge (Pais: Callimanl, 1997).
l2 On the cyborg and its releuance to architectuml and urban questiorc, see Antoine Picon, La Ville Teritoire des Cyborgs (lltstttyrt:
l.ts Editions de l'Impimeur, 1998), WilliamJ. Mitchell,Me++t The Cyborg Self and the Networked City (Carltril,gt,
A,lusachusetts: MIT Pres, 200i), Mdttheu Candy, "Cyborg (Jrbanization: Complexity and Monstrosity in the Conturlnrary Oit1,",
ll
SeeJacques Roger,
irr frrtcnrationalJournal oflJrban and Regional Research, uol. 29, no.1, 2005; Eik Suryngedouw, "Circulatiols unl
(llybrirl) Natures and (Cyborg) Cities", in Science as Crkrre, vol. 15, no.2,June 2005, pp. 105-121.
Mtiltlitn'
$l
ofEces. They also create the appropriate cultural context for their recep-
tion. This context bears the mark of the profound incertitude about
dimension generated by computer imagery. On computer screens, forrns
without definite dimension. Frangois Roche's neo-cybernetic urban megastructure, "I've Heard About", looks for instance like
a midsized coral formation. The same incertitude is detectable in games
and films that make an extensive use of computer images. Take the second Star Wars trllogy.13 Its supposedly colossal architecture is actually
without clear scale. It evokes both the sublimity ofthe pyramids and the
skyscrapers and the precision of reduced scale models. One is torn
between contradictory impulses to step back in order to get the full picture ofa giant architecture
seem to float
Foster
Partners,
VIEW
lj
Courtesy R&Skr(rD,
The comprrirrr
generated lrnll{I,
does not rovoal llr{}
exact scalo o[ tlllli
urlrrtt
megastrU(ilrilo,
in order to
reach a perfect
TAprll 194/,
HB-09969,4,
Photographor
Hedrich Blossln0,
@ The Chlca0o
History Museun'r. Tho
constructivo detoll
possesses somothhll
almost ornamental.
fit
In many
Anne Couture,
Haarlemmermeer,
The Netherlands,
2002. Photo:
Courtesy Christian
Richters.
what
has
Asymptote: Hani
Rashid and Lise
HydraPier Pavilion
cases,
'
14 On Sempey's interprctdtioft oJ tectonic, see Harry Mallgraue, introdrction to GottJried Semper, Style in the Technical
and Tectonic Arts; or, Practical Aesthetics (Its Angeles: The Cetty Research Institute, 2004)' pp 1-67.
reJerenes made to Semper by contemporary architectwal theory, the common underslandin! tf rcrtofric is quil(
Despite the
Jrequent
dillrcnt.liom
1-i
Kuntth l;rttnplott,
his
qprooir
h)
lh(
I h 'l'his k Jor instance the case with the Convent of lt Toufftte. See Sergio Fcno, Chcnf Kebal, Philippc
( lrrrlrrrsicr: I-e Couvent de La Tourette (Marcillts: I'aruthlxs' 1988)
notit n
126
1.r,7
'l'he conclusion
by
Associates, Sendai
N,4ediatheque, 2001
Snee's
role. Frank Gehry's practice probably constitutes one of the best illustrations ofthis crisis with its spectacular buildings in which architectural
form comes first and foremost with little regard for structural constraints.
licis in Paris in which the undulating g)azing is in complete contrast with the rigid
what appears
as
such, as a countermea-
l2r"l
of
conlplex geometries and at the same time provides the structural engirreer and the contractor with the necessary information to build it
-
fi.rnrr possible, even if it is far from optimal in structural terms. The use
.lcatia enables the designer to give a rigorous definition to the most
/ ( itil
I .t,, )
llalmond. Informal.
drugstore Publk;ll;,
Paris, 2004
ofpoints,
engineer Cecil
Balmond, the quest-for
an alternative, "nonCadesian" tectonic
order.
rrral choice into a viable constructive assemblage reinforces the possibilities offered to the architect to play with forms without worrying about
frre.
Relayed by theorists and practitioners as diverse as Neil
Leach, David Turnbull orJesse Reiser, the search for an alternative tectonic, however, proves to be ambiguous.18 One may
indeed wonder whether it is truly tectonic in essence. If one puts
aside Balmond, who remains undoubtedly an engineer preoccupied with structural calculations, what seems at stake most ofthe
time is a new poetics based on a ballet of forms yet unheard of, a
poetics that has not much to do with considerations of loads.
The tendency to break away from traditional structural
guidelines must be considered within the broader frame of a technological world in which the distinction between structural and non-structural levels is becoming increasingly porous. As a cultural production,
architecture reflects trends that extend far beyond the scope ofthe building industry. Closer to the realiry of this industry, recent technological
developrnents enable practicalTy anything to go. With the new possibilities offered by advanced welding or glues many a traditional rule of
'V7ith
^rU.,
,rll1,3ir+:llli:l
l.]0
t.l
Alisharr lorrrlrl
Routes, liriwilrr,
2003, podostrlrrrr
brklgtr,
their increased per{ormances, materials also play a crucial role in this evolution. Epitomized by Gehry's
architecture, the capacity ofthe computer to transform almost every forassemblage can be disregarded.
Jessc llolsor
Nakano Utnorrrolu,
ltllll,
( i<ling
will emerge
'e
itr is
at some point, even ifthe present altematives to straightlirrward structural rules are not totally convincing. There are strong reasorrs that lend credibiliry to this hypothesis, such as the relation that used
to exist between tectonic expression, memory and monumentality, a
lation on which I will return in a moment. 'with the crisis oftectonic,
&i,
lrlcs
FROM MEMORY
IO OBLIVION
loads.
19 SeeJor instance on that theneJacques Ferier,Useful: The Poetry of Useful Things. Utile: La Po6sie des Choses Utilcs
(Bael, Boston, Berlin: Birhhduser, Paris: Ante Pima, 2004).
20 Nkolai Ouroussof, "How the City Sank",ln The New York Times, Sunday, 9 October, 2005, sect. 2, p, 1, 35,
2) ()n tha rclation betwaen technology and nrruory, scc Banmrd Slieglcr, Technics
tnlbnl : Snmfrtrd ( hiwrsity Prrss, I 9() 8).
,\t
132
t.]3
ancl
Tinrc
(l\ui::
litrru,
Strrrnts
rrrrrrrbcrs, thltt tcr:torric rchtcd to tiure, histtlry atttl tttclltory. Thcsc rlrtr(:tll.ttiorrs lracl sourcthirrg to do with the way the humau body was utrclerstoocl rrt the time oftheir design, a link well conveyed by the Spanish struc-
hrlrrll lirtlxttl
(1733 l8()ll),
E$ai sur
I'Architecture, 1755,
frontispiece. Laugier
traces the origln of
architecture back to
the tectonic
organization of the
primitive hut.
Wofgang Hermann, Laugier and Eighteenth Century French Theory [andon: Zwerume4 1962).
134
1 7,(]11,
Parls, I ottvrtt,
1,14x
1,4{)
m 0t
20(X), Whlt(r
lmagos/Srtrtlrt,
Ilotottt:tt'
sharply disagreed.
Tectonic had another connection with
24 Erluardo Tonoja, Les Structures Architecturales. Leur Conception, leur R6alisation (Burgos, Madid: 1960'
French translation Park: Eyrolles, 1971), p. 28. I am translatingJrom French into Etrglish.
135
q;,
25 Eugine-Emmanuel Viollet-le-Duc, Entretiens sur l'Architecturc (Pais: A. Morel E Cic, 1 I63- 1 tl7 2), I )rwitt l\tnolsky, ()<trln
Architecture and Scholasticism (Latrobt', Ptttu:yhurtit: 'l'lrr tlnh,thlrl) l'ft'\t, 195 l)
2(i ()coryt l,itrcportlos I t.grrt,lrt. <'1t rit . l). .a, /
2TVictorFfu(o,Notrcl)rrucde
l'rris(/',rrirr lllll,rrttltrlitiottl\trit:l.tl.itrcrltl\tlt,
lt)')fi) 1t..lli't
( )n llr:rl
lr
1,;l
('s('nt tligrl.rl
! ()n(
r:rsI
.rr r'Ir
itct'trrllrI t'xprcssiort
rnrit
l)r
rs
strik
l\
rl
ll ll
Il Il tt
II II IT
llllllI
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Iltti I ;rlrrll' ll
'1t(tttltttrrliottrltttottrttrtrttl,\\'lt'tt.\tti\t
lt
l,),).')
llrrt lltlrltrrllrrrlr
r,
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l'iilrrt, I11',l
I ollowttrr; I ;rlrrrrLr,l,'
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l'
illr;rilrrrrl ll l', ol
llttttotir; lrlriIrr rrlrl lr
nassarch Leborutodet
lllltutirr;h, (ior rrrury, ?{)0!
Plroloi O l)llhrrl,ro(ll.rln
RCINVCNTING ORNRMgNT
Among the consequences of the suspension of traditional tectonic
assumptions, one finds a spectacular return of ornament as something disdoes not
with the concept that prevailed before the dawn
ofmodernity,
{e
the
performalist trend at work in today's architecture, their second assumption is that ornament should actually be considered as a fully operative,
or to use their vocabulary, a functional dimension of architecture. One
should, however, keep in mind that what they call function is actually
much broader than what was implied by traditional functionalism.
138
r.ii,
:tit:
ttltivc tlttot:ttiorts of
rt sornc:wltltt
fictional culturel past likc thc irrtri-
cate embroideries
w
*"
f,-:**
rlll's
2OO7
Bahrain.
L.
&Mer-
North Mosque
in
r-, * q!
:
ofOMA's 2005
-t -,
31
Robert
Replii,
*il"itr7iir:;;:tr x:r;;i;,
I'hl)
#
s:tvi, '1 7rr' l:rutrtiort pf Iiorttt, r't'vt';rls tlrt'lirll s< opt'ol'tlrt't orrlirsrorr. Irr tlrrs
cssry, irrtcnrlccl lrs ,r sctyucl t<> 'l'lrc l;ttrttliort ol-( )ntttttrtrl, strtrt'trrr;rl Iirrnrs
Ito lt>ttgcr:rl)pr:ar rs lr:llcl bcering, lu iurprcssit-lr rcirrfirrccd [ry tlrc sr:rplrit'
codcs usecl to rcprcscnt thern.13 They are interpretecl in geornctric: tcrnrs
strongly renriniscent of those used by Moussavi to characterize onrrrrnental effects and alIects. Ultimately, the function ofstructure seellls t()
be strikingly similar to the function ofornament, thlrs making their par
R DIFFCRENT MRTCBIRLITY
The term materiality that I have used already a number of times in this
essay dcserves at this point some clarification. To the unabashed positivist mind, materiality seems to be determined by the sheer organization of the physical world, by the laws that govern it and rule the relation we have with it as human beings. In this view materiality is
Herzog & de
Meuron, night
rendering of
National Stadium,
Beijing, China,
Copyright Hezog &
de l\,4euron.
a realizatior, like the Beijing olympic Stadium, as if the alternative tectonic order researched by Balmond was actually ornamental. There is
perhaps no better illustration of the multifarious inversions between
infrastructure and superstructure characteristic of the contemporary
world than this gigantic piece ofarchitecture whose real scale is blurred
rather than revealed by random-looking oblique posts and beams. Its
precious aspect is evocative of the similarly jewel-like appearance of
some of the global maps of the Internet. 'Why not consider the Internet, or at least the web as a giant ornament?
In a world in which web pages and their design ofien matter more
than the hardware organization ofthe server that hosts them, ornament
confuses the perception ofwhat is infrastructural versus superstructural,
ornamental versus tectonic. Another theoretical essay by Farshid Mous-
Hl
(St,irr/i,r/r
.\tutlrt,l Itttirtt'ir1
nrlrtcli:rl usctl to [)('rlr()r('< orttplt'r. Mcrr livt'tl itt:t worltl irr rvlrit'lr tlrt'rt'
wls lirst ot-1ll rro t'lc::rr t:rrt tlcrrr;trcrttiott linc bctwt't'rt tltt'ittorgrtrtit'rttttl
the organic, or bctwccrt a lcvcl of orgalrizati()lr (:harllctcristic of':r Ittlttcr
ial and a lnore strrlctllfal level. Today, wc are probably rctttrttitts to rl
conception closer to the pre-industrial one, with all the rese:rrclrcs ort
composite and smart materials and the tendency to solve more and nlorc
problems at the level of material design rather than structural design.
Thus, the very definition of what we consider as a material opposecl t<>
what we interpret as a structure is a cultural construct. Materials are culturally and socially constructed at many levels. Their properties, for
Cartesian physics.35
materials
Ren6 Descartes,
vortices, from
Principes de la
Philosophie, 1647
lMarche, Paris,
35 This
theme
studied inJean-Pierre
Vin,
1987)
t,t.l
!''
''.
&
'
.
ri(rlsory experience as well as the words and notions used to convey its
strtrstance. In order to make that point clear, let me return to the case of
tlrc automobile that I briefly mentioned towards the end ofthe first chaptcr. The case is especially interesting insofar as the automobile has been
oflten accused to lead to an impoverishment of everyday experience. It
is quite common to oppose, for instance, the richness of walking to the
sirnplified sensations one feels during a car ride. A loss of materiality
seems to be expressing itself through this simplification, leading to
:rbstract notions of space and time.38 Those accusations bear a striking
similarity to some of the critiques that have been made against the use
of the computer in the past decade.
Jantos l)oolIr,
"Highway
0ilnvilli,
72" x 1 ltl",
Courtesy Kuplln l)ol
Bio Galkrry, I orr
Anqolos, 0A
i6 A
be
I'tts,
l()ti.5),
y.
107.
t,1(,
l'llrol,"
ur
(19U6), oll
141
Paysages en
lc
i&t"
39James Craham
form of coitus.3e
redefinition of perceptual
Cape, 1973).
l4rl
14,)
Tangihlo Morll
Groulr
ln
SENSEabK) (JII
L.ahurllor
SandScapo, 2{)0i
Counesy Cnrlo
llnll
Tho lrrtorfnr:
enablo$ usofti I
construct larllsr;itpr
models, ilshl(J i
ductile supporl,
IlI
capturorl il rorr
time usin1l ir lirllrr
s01ilI[,t
tlctile exercise. The accent Put oll surface and ornatuetrt by coutertr*
no coincidence if
Mark Goulthorpe,
dE00i; Aesis
Hyposurlace,
Birmingham, UK,
1 999-2001 . Photo:
Mark Burry, The
faceted metallic
surjace can deform
physically in
response from
stirnuli from the
environment such
as movement,
sound or light.
various
dimensional manipulation.
40 See Jor instance Hiroshi Ishii, Cailo Rattl, Ben Piper, Yao Wang, Assal Bideman, E. Ben-Joseph, "Bringing Clay and Sand into
Digital Design - Continuous Tangible User lnterJaces", inB'I TechnologyJournal, vol. 22, no. 4, October 2004, pp. 287-299.
150
have
problematic. In the case of the automobile, the emergence ofnew pertinent objects is accompanied by the
loss of the ordinary sense of distance
in favor ofthe notion of accessibility.
The crisis ofscale and tectonic epitornizedby digital architecture may be
interpreted in a similar way. Again,
41 Stephcn Penella, "Elcctronic llaroEtt. Hypcrsufoce lI: Autopoiesis", in Stephen Penella (cd.),
"HypmwJaa: Arehitrcltrc I1", Arcltitcc(uril I)csi1;lt, pp. .5-7.
t5l
abstract considerations.
-While
s[d
Xefrrotaroh (Herniirr
D[az Alonzo),
Arl
Dominican Repulllic,
2006. Courtesy
Xefirotarch.
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the eyes of the computer user is multidinrensit>rral. It fkrws in all dircctions; it is also, at least theoretically, fully reversible, in contrast with the
irreversibiliry ofphysical movement. But the most important and valid
issue in the comparison with the automobile remains the contribution
of the computer to our changing notion ofmateriality.Just like the automobile, the computer has become inseparable from the way we experience the world as a totaliry involving the senses and the perceptions
associated with them.
Obviously this way of seeing things is in complete contradiction
with what has been for a long time the dominant take on the machine.
For decades, the computer has been presented as a mere extension of
the mind, a super-memory, a calculator and an enhanced tool for logical exploration. Such was for instance the way the French anthropologist Leroi-Gourhan approached it in Le Geste et la Parole, a spectacular
evocation of human progress through the use of technological tools,
from the Neolithic period to the twentieth century, from the first
trimmed and polished stones to the early computers.as For LeroiGourhan, human progress was marked by the gradual externalization of
It all began with stone knives and axes that
extended the capacity of the hand. The final stage was the extemalization of mental functions like memory with the computer.
There is no doubt that the computer has something to do with
the extension of the mind. But beyond that, the computer alters our
perception of objects; it extends the realm of our sensations.'With the
new interfaces that are developing today, it will soon a{fect our motor
schemes. It is already striking to observe how the mere use of a mouse
has created new kinds of gestures. Among teenagers, the development
ofvideogames has fostered even more speci6.c kinds ofreflexes, an evolution that has led some neurologists to wonder whether our mental
maps have not evolved with the abiliry to make a virtuoso use of computer keys and joysticks.
-With
films llkeJohnny
Our perception of space is already affected.
Mnemonic, The Matrix or Minority Report, cinema has repeatedly envis-
in
tion of three-dimensional
augmotttori rrrrrllly
and electronic realities. This hybridizationis not yet firlly there, but some
features of the displacement of materialiry can aTready be observed.
For instance, visual codes are changing at a surprising speed. 'W'e
no longer marvel at the capacity of digital media to create effects like
zooming in and out with a simple mouse click, and we tend to perceive
our ordinary three-dimensional realiry as if it were the result of a provisory compromise, or rather the product of a middle-range lens focus
between the very small and the extremely large, between atoms or rather
46RobertInngo(dir.),JohnnyMnemonic
Srcucn Spielherg (dir.),
Minority keport
(1995),LanyandAndyWathowski(dir,),'lhcMatrix(1.991)),
(2002).
mohlkr ltlrrrtrr
Photo: l-oonarl I ow,
Satellite
image over
Berlin.
Courtesy
NASA.
poses
is
inherent feature of digital architecture that again finds itself in profound accordance with the world
that is unfolding around it.
47 Cf. Piene Vehz, Mondiaksation, Villes et Territoires: L'Economie d'Archipel (Paris: PUF, 1996)
even
if part
of architectural experience.
From the crisis of scale and tectonic to the reinvention of ornarncnt, many aspects of digital design are related to key features of the difli'rcnt materiality that is emerging. Its exploration is among the most
rnportant tasks imparted to digital designers. Form, despite its spectac'W'hen
dealing
rrlur character, comes only second to this exploration.
w ith issues of materiality, digital architecture expresses broader trends at
work in the architectural discipline. This is where computer-aided
r
rt'ss
exchange, like the MIT Stata Center. Design procedures and methods
represent a source ofinspiration for branches ofscience and engineering dealing with problems of creative conception.48 Issues of design in
this creative meaning are also fundamental to the emergent materialiry.
The dense web of relations that connects today's arts and architecture
to science and technology rnay remind us of the Renaissance period.
The Renaissance was also a moment ofprofound redefinition ofmateriality, a redefinition epitomized by the invention of perspective'
MRTCfi]RLS BY DESIGN
The intimate relation between emerging mareriality and the design
dimension is especially evident dealing with materials. Today, materials
can be totally designed at all scales, for the first time perhaps in history.
Even for classical materials like concrete, the nano-threshold will soon
be reached.ar The capacity to zoom in and out applies especially well to
material design. This should not be a surprise since digital technology
plays a fundamental role in the affair. State-of:the-art composite or smart
materials are designed with the help ofall sorts ofcomputer equipments.
There are various ways to approach this evolution. The first one
is to focus on the development of composite and smart materials that
combine properties that used to be mutually exclusive.s0 The transparency of glass, for instance, went with poor insulating and load-bearing capacities, while a composite-product glass can be transparent, insulating and even load-bearing, lending itselfto sustainable faqade design.sl
Composite and smart materials challenge received notions of
products like fabrics.52 They also blur the distinction between structures
and materials, since they possess a strong degree of organization in contrast with the vision ofmaterials that had prevailed at the dawn ofindustrialization. They are instrumental in the progressive shift from structural to material design that has taken
place in a series of domaini. One of the
most striking illustrations for this shift is
the radical change in the concept of
autornobile bumpers. Formerly designed
Frans l-lolthuyson,
"Skyllno"
Plasma otchlng.
Courtosy FranB
Holthuys6n-"Makln0
the lnvlslble Vlslblo"
Electron MicroscoplBt
Phlllps Rosoarch
Laboratorloe,
MiPlaza, Moro and
m0re pr0c0sss8 csn
be carrlod nt
nanoeealB,
48 On the contemporary relations between design and science, seeJor instance Peter Calison, Emily Thonpson (eds ),
Mdssachusetts: MIT Pres, 1999), Antoine Pimn, Alessandra Ponte (eds ), Architcctttrc
ancl the Sciences: Exchanging Metaphors (New York: Ptinceton Architectural Pres, 200j), Akos MotauLnszk'i', Ob W
Fischer (eds.), Precisions: Architecture berween sciences and the Arts (Berlin: Jouis, 2001t).
,,Biton: IJne Entrie en Matiire", inJean-ltuis Cohen, C. Martin Moellet (eds,), Architccturcs clrr ljltott:
49 Franz-Josef LIlm,
Nour"ll"sVagues,NouvellcsRecherches
MI'l- Prcs,
Manzini, The Material of Invention (Milan: 1986, Englkh translatktt Canilritlgr, Mtssndu$lt:
Ncw Tcchnologics firr thc Arr:lritct:trrrc lrrrl
2001t).
l)rigrr
krrttttlrlV,'( V|rlI lr
nr(:lrlhr:llrtr!,
ll;r{rk
oxman. An
exploration of
material organization
using computer
simulation, Beside
the attention paid to
parameters such as
structural loads and
environmental
conditions, the
sensory dimension is
extremely present,
5i
On the epktemological dimension oJ contemporury mateial scienre and mateial design, see Bemadette Bensaudc-Vinttul'
Eloge du Mixte. Mat6riau Nouveaux, Philosophie Ancienne (Pais: Hatfuttt, l9t)ti)
54 See Toshiko Moi (ed.),Imaterial/Ultrmaterial; Architecture, Design and Materials (Canbidge, Massachusrtts: I lmwl
Design School, New Yorh: Ceorgt Bruzillcr, )00))
l.i Scr Neri Oxman andJesse Louis Rosenberg, "Mateial-based Design Computation: An Inquiry into Digital Similtlkvt ol l'hyi,,tl
Milt,rid l>ropt:rt:it,s a.r Drsiql Cclcrators", ir IntcrnationalJournal of Architcctural Computing, uol.5, ntt.l, 2007, py )f 'l'l
Tltc tttlilt tlttt'sti<ttt hrts to tlo witlr thc possi[>ility to rcirrverrt sorrrr.
thing akin to tcctonic principlcs. I)espite their tcudcr.rcy to substitr-rtc
themselves to structLrral organization, contemporary materials poirrt
toward the reemergence of such principles. Tectonic is based on prescriptions regarding the proper use of materials. Greek trabeation or
gothic vaults correspond to specific interpretations of the best way for
stone to carry loads. Nineteenth-century industrial architecture's tectonic principles are intimately linked to the use of iron. The properties
of composite and smart materials call for the institution of new rules,
rules probably very different from former tectonic guidelines. These
guidelines were based on antinomies that are no longer relevant,
like the opposition mentioned
above between transparency and
load-bearin g. Emergent tectonic
principles will have to recognize
their compatibiliry.
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t t;
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r r
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tttrtIoIIrI, tr]ltrtIIitr:httlrI
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DgSIGN STRRTEGIES
RND
PROFESSIONRL PERSPECTIVES
&
certain stage.
Can design procedures remain the same in the broad context depicted in
this chapter? Of coune not, but one may still wonder about the extent of
the changes to expect, even ifone leaves aside the altemative between form
deterrnination and algorithrnic creation that was discussed in the previous
chapter.
The most immediate transformation will probably be linked to
the need to make design procedures more explicit than in the past. Computers require a precise set of instructions at each stage of a project. For
architecture, this will represent a major change since design procedures
were seldom fully formalized despite their crucial importance in the definition ofthe discipline. In most Renaissance and baroque architectural
oJ
l(r2
57
(r.l
20011.
COMMNND?
The evolution ofprofessional competences is inseparable from the transformation ofbuilding techniques. The computer is not only at the center of a sprawling set of conception tools; it appears also as the hub of a
wide range of computer numerically controlled (CNC) machines, 3D
printers, laser cutters, mills and routers, meant for rapid prototyping and
fabrication.
Various questions arise in this context. The first regards prefabrication, one ofthe oldest pursuits ofmodernity,se the content ofwhich
is in need of a complete reassessment. With the development of digital
conception tools, prefabrication elements can be determined in new
ways allowingfor amuch greater diversiry than before, a diversity illus-
58
5e seeJor
Toshileo
**,X::rf:rr;;T:i,,i;:y*,r;:*";,;:),:"";,i;i;;,,
Plono Huyghcrwlllr
Mlchaol [/6rdlth,
Michael Meredith's temporary Puppet Theater atHarvard [Jniversity Carpenter Center, ZahaHadid's
Hungerburg Funicular or'William Massie's American House 08. This
as
led theorists and designers like Bernard Cache to propose a new charrcteization of digitally-fabricated architecture as "non-stan dard", a term
tpplying both to form and the non-repetitive and often complex prelabricated pieces that it can be made of
One of the current limitations ofgeometric complexity lies in the
problems ofpackaging and shipping. AsJordan Brandt puts it in a dochas
MOS, Ptippel
Thootor, 2004.
Photor Florlfln
Holzhorr, l hle
tomporary Blrucluft,
liuyoltn,
lll
' llrrr l;rrlltrlrlirl W;rll,' I lll
(ir;urir/iri ti Krrlr[rr / I
/llrirlr
Kolrk;r.
lVartin Bechthold,
Harvard Graduate
School of Design, use
is
61
See
Jor instance the online proceedings oJ the 25th lnternational Symposium ofr Autofrdti()l and llohotks it
(visilcd on 7January,2009).
Construction, http://m.iaarc.org/extunal/isan2008<d/
Br.r
t
thc cqnccption level.o2 At Harvard (]racl-ratc School of I )csigr r, M:rrt irr llt't'lr tlroltl is :r lstr
investigating the possibilities offered by robots with a special acccnt pttt on strl-fltc:ilrg
efFects. There again, the possibilities are wide-ranging, but many interrogations rcrtt;titt.
The present incertitude is well conveyed - in the same ironic vein as his M(l']i)
Bar - by Franqois Roche in another of his projects for the extension of the collection
of the Fonds R6gional d'Art Contemporain of Orl6ans, France, a museum of contemporary art. In this 2006 project conceived in association with artist Pierre
Huyghe, a robot is gradually producing a recycled-glass additional layer to
an existing building. Without recogrrizable shape, comparable to a stack,
the project questions the very notion
Iiotl",('r tll:rt
the
machine becomes "the vector, the
vehicle, for a constructive subjectiviza-
6) http://rttut ttrrilotits.rut/uu,lostit.htn
(l)ilsult(,1
orr
Jtnuary 7, 2009).