The Use of Technology and the !

Representation of Contemporary Architecture

MARE 500 Work-in-progress Presentation

5th of May 2011

Aim of Research:

• Describe

• Discuss

• Compare

• Conclude

This paper intends to gather contempory design practice and theory to access how architectural representation has developed from the use of hand drawing to the innovative use of computer technology.

Core Theme:

Research Methodology:

•  Discursive

&

•  Analytical

Research Questions:

Historically how did the physical creation of architecture take place? Is hand

drawing and modelling the best method of design? Should we develop and evolve architecture to be designed digitally? How is architecture designed digitally? What are the pros and cons of each method of design? And can there be a hybrid of both methods of designing?

Method of communication

 Research journal

 On-line Blog

 Research thesis

Findings to Date

1.  First Chapter, The Physical: •  The Creation of Architectural Drawing •  Architecture the brother of Art •  Drawing and the Imagination •  The Techniques Within the Process

2. Second Chapter, The Digital

3. Third chapter, The Comparison

4. Conclude

The Creation of Architectural Drawing

i. Image:

i. Statue plan, 3000 BC

(Mesopotamia, Babylon)

Continued…

Image:

ii. Giotto (1334) Campanile of Santa Maria

del Fiore, Opera del Duomo, Siena.

Architecture the brother of Art

Images: iii. David Evans (1773) The Origins of Painting iv. Karl Schinkel (1830) The Origins of Painting

“always work through some intervening medium, almost always the drawing, while painters and sculptors, who might spend some time on preliminary sketches and Marquette's all ended up working on the thing itself”. (Evans, 1997)

“With out drawing there could be no architecture, at least no classical architecture constructed on the lines of geometrical” (Ibid)

Continued…

Image: v. Yuri Avvakumov and Yuri Kuzin. Red tower (Homage to Vladimir Tatlin), (1986) Screen print on newspaper. v.

Drawing and the Imagination

vi. Image:

vi. Debord. G, Jorn. A (1975) The Naked City.

One: The 'Naked City' by Guy Debord and Asger Jorn

Continued…

Image:

vii. Wood. L (1990) Berlin Free-Zone.

Image

Two: The Berlin Free-Zone created by Lebbeus Wood.

vii.

Continued…

viii. Image:

viii. Nieuwenhuys. C (1974) New Babylon, Concept model, Metal.

Three: New Babylon by Constant Nieuwenhuys

The Techniques Within the Process: Painting

Image:

ix. Hadid, Z (1983) The Peak: Blue Slabs,The Peak Club, Hong Kong.

ix.

“For Hadid, turning to painting was a necessity. Feeling that traditional methods of representing architecture were not appropriate for inventing new ideas, she used painting to research representations of three dimensions through multiple perspectives.”

Ramirez-Montagut. M, 2006)

Continued… Drawing

Image:

x. Coop Himmelblau, (1969)

Living pod, Pencil on Paper Sketch.

“The spontaneity of the sketch or scribble is potentially far closer to the moment of ‘idea’ than the considered laboured presentation piece.” (Cook 2008)

x.

Continued… Collage

“numerable ‘mocks ups’ that were all hand drawn and pasted with image and text from weekly magazines, newspapers and sales catalogues.” (Le Corbusier , 1948)

xi.

xii.

Images:

xi. Le Corbusier, Charlotte Perriand and Pierre Jeanneret, (1930) The Equipment interieur d'une habitation installation, Photo-collage.

xii. Hawley, C (1982) Peckham House. UK Mixed media.

Continued… Model

Image:

xiii. Simon hangs and constant during shoot, 1962, (photographer: bram winham)

xiii.

“The model has the

empting and irritating habit of inviting you to look at the parts from a

variety of view points. Some

good and some less so.” (Cook 2008)

Summary of research so far…

xiv. Frank Lloyd Wright, Hilla Rebay, Solomon Guggenheim, The unveiling of the model for the Guggenheim Museum, August, 1945

xiv.

Further development… Influential reading:

1.  Responsive Environment: Architecture, Art and Design (Lucy Bullivant 2006)

“Responsive Environment- By definition spaces that interact with the people who use them, pass through them or by them- have in a very short space of time become ubiquitous.” (Lucy Bullivant)

2.  Programming cultures: Art and Architecture in the Age of Software (Mike Silver 2006)

“It is only a question of time before software development becomes an integral part of the building design process. Certainly, this will be an unprecedented moment in

the history of architecture.” (Mike Silvers)

3.  Interactive Architecture (Michael Fox and Miles Kemp 2009)

“The increasing presence of interactivity in our built environment calls for architects and designers to integrate interactive and adaptive systems…to cross boundaries into engineering, computer and behavioural sciences.” (Michael Fox)

Completed Aims: •  Proposal, abstract and introduction.

•  Completed a descriptive chapter on the diverse topics of representing and communicating architecture with the use of physically produced methods.

•  Discussed examples of physical representational design.

•  Create a descriptive chapter on digitally designed architecture.

•  Compare both physical and digital technologies together.

•  Conclude with a comparison of method to produce architecture and if they can be hybridised.

Still to be covered:

Question and answer?

Bibliography: Quotes: Cook. P (2008) Drawing: The Motive Force of Architecture, Great Britain, John Wiley & Sons Ltd. Evans. R (1997) Translations from Drawing to Building and Other Essays, London, AA.

Smet. C (2005) Le Corbusier, Architect of Books, Italy, Lars Muller Publishers

Ramirez-Montagut. M, (2006) The Guggenheim exhibition: Zaha Hadid, Manhattan, New York.

Bullivant. L (2006) Responsive Environment: Architecture, Art and Design,New York, V&A.

Silver. M (2006) Programming cultures: Art and Architecture in the Age of Software, London, Wiley Academy.

Fox. M and Kemp. M (2009) Interactive Architecture, New York, Princeton Architectural Press.

Images: ii. Statue plan, 3000 BC (Mesopotamia, Babylon)

ii. Giotto (1334) Campanile of Santa Maria del Fiore, Opera del Duomo, Siena. iii. David Evans (1773) The Origins of Painting iv. Karl Schinkel (1830) “ “ v. Yuri Avvakumov and Yuri Kuzin. Red tower (Homage to Vladimir Tatlin), (1986) Screen print on newspaper.

vi. Debord. G, Jorn. A (1975) The Naked City.

vii. Wood. L (1990) Berlin Free-Zone.

viii. Nieuwenhuys. C (1974) New Babylon, Concept model, Metal.

ix. Hadid, Z (1983) The Peak: Blue Slabs, The Peak Club, Hong Kong.

x. Coop Himmelblau, (1969) Living pod, Pencil on Paper Sketch.

xi. Le Corbusier, Charlotte Perriand and Pierre Jeanneret, The Equipment interieur d'une habitation installation, 1930, Photo-collage.

xii. Haley, C (1982) Peckham House. UK Mixed media.

xiii. Simon hangs and constant during shoot, 1962, (photographer: bram winham) xiv. Frank Lloyd Wright, Hilla Rebay, Solomon Guggenheim, The unveiling of the model for the Guggenheim Museum, August, 1945