Architecture P
ortfolio2016
Rebecca D. Mahoney
Masters Design Studio OneArchives For Endangered Ideas
2-3
4-11
12-19
20-27
28-37
KAIT WORKSHOP
WALL DRAWING 173
THE AGENCY OF MAPPING
INTRO
ARCHIVING
2
Arguably, critical and conceptual ideas are dying in the contemporary context. In a world over-saturated with material and images, deep and complex ideas are over-looked, or worse, reduced to stylised appropriation. This studio seeks to develop a methodology to generate process based outcomes which preserve, reflect and strengthen these endangered ideas.
Using the programmatic context of an archive, students try encapsulate selected precedent work of architects, artists and writers, through a critical process of explo-ration. A new working methodology, the ‘One and Three’ relational method will be tested. This method seeks to explore and synthesise three fundamental forms of articulation; language, visual and spatial.
These archives will highlight the use of trans-disciplinary reference material as both content for, and development of architectural outcomes. Further the studio seeks to re-establish the relevance of architectural and art theory, history and precedent in the contemporary design process and practice.
4
KAIT WORKSHOPKANGAWA INSTITUTE OF TECHNOLOGY2008JUNYA ISHIGAMI 21,410 M2
6
The room is not directional. Manifested as an assortment of unstably fluctuating spac-es. There are many routes. Spaces are defined by the user. Different heights define spaces. The grid does not dictate flow. There are fuzzy and ambiguous boundaries between spaces. Many columns give the impression. Spaces can come about not necessarily by the varying subjective views. Landscape designs the space. They walk around disregarding the position of the pillars. The space is regenerated each time like the growth of a forest. Thus rewriting the structure of the building each time. But sometimes with clear objectivity. Circulation is dependent. The way in which we perceive spaces can be linked directly. By and large people follow the same routes all the time. A circulation path of certain stability is revealed. Are spaces formed by pillars? Uncertainty in the design of the building. Create an uncertain state in which the true nature of things is impossible to grasp. There was a coexistence of uniform placement with non-uniform orientation. Due to the lack of continuity of shape and layout. Different behaviors arise depending on the direction one is facing
8
10
11
Large scale pavilions undulating across a landscape with no distinct route or trail to follow. The structures weave the user within and without.
12
SOL LEWITTWALL DRAWING #1731973“LINES FROM FOUR CORNES AND MIDPOINTS OF FOUR SIDES TO-WARDS THE CENTRE OF THE WALL”CRAYON ON WALL
14
Lewitt created art through collaboration, for him concept outweighed the physicalisa-tion of the art and the idea became the machine that drives the art whilst the art itself remains emotionally and unengaging to the eye. He would write instructions for the art, for them to be carried out by someone else. The physical form of the space are ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’
16
2 0 . Success-
ful art changes our
understanding of the conventions by altering
our perceptions.21. Perception of ideas leads to
new ideas.22. The artist cannot imagine his art, and
cannot perceive it until it is complete.
18. O n e
u s u a l l y understands
the art of the past by applying
the convention of the present,
t h u sm i s u n d e r -
standing the art of the
p a s t .19. The
conven-tions of
art are a l -
t e r ed
b y w
12. F o r e a c h work of art that becomes physical there are many variations that do not.13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may neverreach the viewer, or it may never leave the artist's mind.14. The words of one artist to another may induce an idea chain, if they share the same c o n c e p t .
9 . The concept and idea are
di�erent. The former implies a general direction while
the latter is thecomponent. Ideas
i m p l e m e n t t h e
c o n -ce
7.
The a r t -
i s t ' s will is
s e c -ondary
to the process
h e i n i t i a t e s
from idea t o
completion. His wilfulness
may only bee g o .
4 .
Formal art is e s s e n -t i a l l y r a t i o n a l .
5. Irrational thoughts should be followed absolutely and logically.6. If the artist changes his mind midway through the execu-tion of the piece he compromises the result andrepeats past results.
2 . R a -
t i o n a l j u d g e -
ments repeat rational judge-m e n t s .
1. Conceptual artists are mystics
rather than rationalists. They leap to conclusions
that logic cannot reach.
2 5 . T h e a r t i s t may not n e c e s s a r i l y understand his own art. His perception is neither better nor worse than thato f others .
27. The con-c e p t of a w o r k of art m a y i n v o l v e t h e matter of the piece or the process in which it is m a d e .
23. The artist may
m i s p e r c e i v e (understand it
di�erently from the artist) a work of art but still be set o� in
h i sown chain of thought by
that misconstrual.24. Perception is
s u b j e c t i v e .25. The artist may
not necessarily understand his
own art. His perception
is neither better
n o r wo
r
26. An artist m a y p e r c e i v e the art of o t h e r s b e t t e r t h a n h i s o w n .n w hic h i t is
2 8 . O n c e
the idea of the
piece is established in
the artist's mind and the �nal form is
decided, the process i scarried out blindly.
There are many side e�ects that the
artist cannot imagine.
T h e se
29. The process is mechanical and should not be tampered with. It should run its course.
3. Irra-tional judgements lead to new expe-ri-
16. If
words are used, and
they proceed from ideas about
art, then they are art and not literature;
numbers arenot mathematics.
15. Since no form is
intrinsically superior to another, the
artist may use any form, from an
expression of words
(written or spoken)
to physi-
cal re-
al
1 7 . A l l
i d e a s are art
if they a r e
concerned with art and
fall within the conventions of
a r t .18. One usually
understands the art of the past
by applying t h e
c o n v e n -tion of
t h e pres-
ent,
10. Ideas
can be works of
art; they are in a chain of
development that may eventually �nd
some form. Allideas need not be made
p h y s i c a l .11. Ideas do not necessarily
proceed in logical order. They may set one o� in
unexpected directions, but an
idea must necessarily be
completed in the
m i n d b e
8 .
When w o r d s
such as p a i n t i n g
and sculpture are used, they
connote a whole tradition and imply
aconsequent acceptance
of this tradition, thus placing limitations on the
artist who would be reluctant t o
make art that goes beyond the l i m i t a t i o n s .
2 0 . Success-
ful art changes our
understanding of the conventions by altering
our perceptions.21. Perception of ideas leads to
new ideas.22. The artist cannot imagine his art, and
cannot perceive it until it is complete.
18. O n e
u s u a l l y understands
the art of the past by applying
the convention of the present,
t h u sm i s u n d e r -
standing the art of the
p a s t .19. The
conven-tions of
art are a l -
t e r ed
b y w
12. F o r e a c h work of art that becomes physical there are many variations that do not.13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may neverreach the viewer, or it may never leave the artist's mind.14. The words of one artist to another may induce an idea chain, if they share the same c o n c e p t .
9 . The concept and idea are
di�erent. The former implies a general direction while
the latter is thecomponent. Ideas
i m p l e m e n t t h e
c o n -ce
7.
The a r t -
i s t ' s will is
s e c -ondary
to the process
h e i n i t i a t e s
from idea t o
completion. His wilfulness
may only bee g o .
4 .
Formal art is e s s e n -t i a l l y r a t i o n a l .
5. Irrational thoughts should be followed absolutely and logically.6. If the artist changes his mind midway through the execu-tion of the piece he compromises the result andrepeats past results.
2 . R a -
t i o n a l j u d g e -
ments repeat rational judge-m e n t s .
1. Conceptual artists are mystics
rather than rationalists. They leap to conclusions
that logic cannot reach.
2 5 . T h e a r t i s t may not n e c e s s a r i l y understand his own art. His perception is neither better nor worse than thato f others .
27. The con-c e p t of a w o r k of art m a y i n v o l v e t h e matter of the piece or the process in which it is m a d e .
23. The artist may
m i s p e r c e i v e (understand it
di�erently from the artist) a work of art but still be set o� in
h i sown chain of thought by
that misconstrual.24. Perception is
s u b j e c t i v e .25. The artist may
not necessarily understand his
own art. His perception
is neither better
n o r wo
r
26. An artist m a y p e r c e i v e the art of o t h e r s b e t t e r t h a n h i s o w n .n wh ic h i t is
2 8 . O n c e
the idea of the
piece is established in
the artist's mind and the �nal form is
decided, the process i scarried out blindly.
There are many side e�ects that the
artist cannot imagine.
T h e se
29. The process is mechanical and should not be tampered with. It should run its course.
3. Irra-tional judgements lead to new expe-ri-
16. If
words are used, and
they proceed from ideas about
art, then they are art and not literature;
numbers arenot mathematics.
15. Since no form is
intrinsically superior to another, the
artist may use any form, from an
expression of words
(written or spoken)
to physi-
cal re-
al
1 7 . A l l
i d e a s are art
if they a r e
concerned with art and
fall within the conventions of
a r t .18. One usually
understands the art of the past
by applying t h e
c o n v e n -tion of
t h e pres-
ent,
10. Ideas
can be works of
art; they are in a chain of
development that may eventually �nd
some form. Allideas need not be made
p h y s i c a l .11. Ideas do not necessarily
proceed in logical order. They may set one o� in
unexpected directions, but an
idea must necessarily be
completed in the
m i n d b e
8 .
When w o r d s
such as p a i n t i n g
and sculpture are used, they
connote a whole tradition and imply
aconsequent acceptance
of this tradition, thus placing limitations on the
artist who would be reluctant t o
make art that goes beyond the l i m i t a t i o n s .
18
This Sol Lewitt space is a system of joints and connectors given to the visitor, they can assemble the joints into the prescribed cubic formation, or they can create any space they desire. Without the users the space doesn’t exist.
20
21
The Agency of MappingJames Corner1999Drift/ Rhizome/ Game Board/ Layering
22
24
26
27
A library made of four sections each referencing the chapters of Corner’s text.
28
Archiving
30
vLewitt’s work on the island is interpreted to use his ideas and instructions for art to guide, inform and dictate the users experience and tour of the island. Once the users arrive at the island they are faced with a choice of 1 of 9 instructions by Lewitt which will begin their journey through the island by placing them on a corresponding path-way that tracks across the island. They are given a GPS tracker and the instructions to be tracked as they move, they can use the instructions to create the intended art work on a huge scale across the island… or not. The physical form of the walkways is ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’. Lewitt and his instructions to be the building blocks and scaffolding for his collabo-rative art, which is here physically manifested as simple scaffold across the island whose layout is dictated by wall drawing 289, called the location drawing, appropri-ate in that it was one of his few drawings that specified a start point by no defined end point was given rather the end of the route was subjective to the artist and their will.
32
34
Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the
artist cannot imagine. These may be used as ideas for new works.-Sol Lewitt
WALK A(d) TURN B°
WALK C(d)
WALK G (d)
WALK M (d)
FIND (i)
TURN H°
FIND E
WALK F (d)
36
The Kait workshop by Junya Ishigami is a space created from landscape and not from section and composition. It’s a creation of spaces within space that have no standard orientation, they are relationally defined, seeking out the ambiguous and undefined. The first chapter of Ishigami’s book another scale of architecture discuss-es the Kait workshop and forest, the following are concerned with sky, cloud, hori-zon and rain. All these chapters have been physicalized into corresponding gallery spaces. The gallery here is a non-directional space whose floor plate has pushed and pulled relative to the arrangement of columns in the Kati workshop to create a miniaturised topographical space using different heights to define spaces and paths cresting ‘animal trails’ throughout The gallery displays the hundreds of models for kait as well as the pages of the forest chapter. Each gallery displays its respective model or work and chapter pages too
‘People trace a winding path for some reason, despite being able to walk straight if they wish. Spaces are born out of the relationship between architecture and non-ar-
chitectural elements’’-Junya Ishigami
Landscape designs the space. Users walk around disredarding the position thus rewriting the spatial structure of the building each time. Circulation is dependent.
CHAPTER ONEFOREST
MODELS 1-50MODELS 50-100
MODELS 150-200MODELS 250-300
MODELS 300-350
Finally I have created a library archive that is an exploration of mapping derived from James corner’s 1999 text the agency of mapping. The text and this building explore realities previously unseen or unimagined, shown through selection, omission, iso-lation, distance and codification. The location of the archive is away from the other spaces and walk ways, but is designed to be the end point of the user’s journey in that the Lewitt instructions are guided towards it and from high points on the island it reveals itself. I started my analysis of the text by colour coding, highlighting and overlapping five main aspects of the text, being idea (mapping), action, precedent, outcome and the antithesis of the idea. Once overlapped and interconnected these elements of the text defined my plan and helped organise internal program. Mapping was physically represented as smaller vaults within the whole that housed corners own maps, writ-ing and works. There are large gallery spaces to show the work of influential map makers and writers such as Mercator and Buckminster fuller. The rest of the works are stored as texts of the precedents arranged by their physical location within the overlaid text. The space is punctured by large void walls which represents the an-tithesis that corner continually references, it is how not to map and what mapping should avoidThe final space set apart from the main archive is the ‘live mapping’ room, this room is the connector to the rest of the island and its precedents. It is a room that collects and projects the information from each users GPS system that they were given upon arrival. The maps in this room display how the user has traversed the site.
‘‘The function of mapping is less to mirror reality than to engender the reshaping of the world in which we live’’
- James Corner
Realities previously unseen or unimagined are uncovered here through the selection, omission, isolation, distance and codification.
EXHIBIT
VOID
VAULT
Undergraduate Final Year StudiosParametric design and capstone studio
52-67
68-75
76-87
ARCHIVE DESIGN
GALLERY DESIGN
PARAMETRIC DESIGN
PARAMETRIC EXPLORATIONS
MODEL PROTOTYPING
Designed for the European capital city Copenhagen, this project aimed to create an engaging and visually aesthetic form that generates on-site renewable energy. My project is the result of generative design in parametrics and computation, tak-ing a set of parameters relevant to site and design style and creating a viable form. I created a series of greenhouses of different forms that are paramet-rically derived and site responsive to Copenhagen’s solar patterns. Each greenhouse has a different type of ecosystem on display, this will attract users to the site and help educate about the possibilities and beauty of renewable energies
D C
ENERGY EFFICIENCY DIAGRAMS
2000 KWhProduced anually by the
Swiss Tech convention centre with 355 active solar panels on the west facade
240 Inhabitants worth of elec-tricity will be offset anually.
equivalent to 60 four person households
163,200 Kg of carbon dioxide will be anually offset by our
green house
306,892 KwhProduced onsite by green-house’se 2000 active solar
panels
ANNUAL SOLAR PATHS
JANUARY APRIL AUGUST DECEMBER
JANUARY APRIL AUGUST DECEMBER 2200 Kwh/ m²
913 Kwh/ m²
570 Kwh/ m²
228 Kwh/ m²
SOLAR OUTPUT
NORTH GREENHOUSETropical and exotic plant types
SOUTH GREENHOUSENative forest and fir tree types
EAST GREENHOUSENorthern European flower
typesWEST GREENHOUSE
Vegetable garden and home planting greenhouse
TOURISTS
FAMILIES
BOTANY ENTHUSIASTS
CHILL SEEKERS
EDUCATIONAL GROUPS
NORMAL PEOPLE
HOME GROWN VEGETABLE FANS
ANNUAL SOLAR PATHS
USERS
GREEN HOUSE TYPES
GREENHOUSES
VEGETATION
CIRCULATION PATHS
ACCESS PATHS
EXPLODED AXO
SOUTH ELEVATION
NORTH ELEVATION
EAST ELEVATIONWEST ELEVATION
1
1
2
3
4
2
3
41:100
1
1
2
3
4
2
3
41:100
PINE TREE GREEN HOUSE
WEST EXTERIOR
CIRCULATION SPACES
JUNGLE GREENHOUSE
3700 MM
5400 MM
1:50 SCALE
0 200 CM
3700 mm
ALUMINIUM CHANNEL FOR WIRING
ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT
HOLLOW ALUMINIUM SECTION FOR WIRING
0 50 100 CM
ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT
STEEL HOLLOW SECTION SUPPORT ARCH
C- CHANNEL FOR GLASS CLEANING AND MAINTAINANCE
SCALE MODELS
JOHN MCCRACEN‘FAIR’
PLANAR SURFACES INTERSECTION OF PLANES
The aim of this project has been to design a new building for the University of Melbourne Ar-chives, currently housed in a rather uninspiring-looking warehouse in Brunswick West. Starting with sculpture, I strove to create a space of simplicity and sparseness, emphasised by the phenomenology created through planarity and void. The archives here become a space that gives back to the community in that it has reintroduced public green space into Brunswick.
RECEPTION + LIBRARY
ENTRANCE GALLERY
OUTDOOR CINEMA
ROOFTOP GARDEN
AXONOMETRICSCALE 1:250
WALL EXTRUSION
1 CM PVC PIPING
MOISTURE MEMBRANE
DRIP IRRIGATION
POLYMIDE FELT POCKETS
VERTICAL GARDEN CONSTRUCTION DETAIL
SCALE MODELS
The Outré Gallery is self described as “Australia’s original alternative gallery dealing in con-temporary international pop, lowbrow, pop surrealism and underground art”. This pro-ject looks at creating a new gallery and multi purpose space for the business, includ-ing a cafe and book store. I aimed to look at new relationships between retail spaces by varying the amount of opacity and transparency in a space. I wanted to explore the phenomenol-ogy that comes from visible invisible and opaque through layered surfaces, patterns and textures.
OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY
TRANSFORMATION OF CONVENTIONAL STORE SPACES SECTIONING OF SPACES REMOVAL OF SPACIAL HEIRARCHIES
OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY
TRANSFORMATION OF CONVENTIONAL STORE SPACES SECTIONING OF SPACES REMOVAL OF SPACIAL HEIRARCHIES
OVERLAID TRANSPARENCY TO CREATE DEPTH AND OPACITY
TRANSFORMATION OF CONVENTIONAL RETAIL SPACES SECTIONING SPACES REARRANGEMENT OF SPACES
UP
UP
38 m
GROUND FLOOR CAFE+ BOOK STORE
BOOK STORE MEZZANINE
FIRST FLOORGALLERY
UP
UP
UP
STAFF OFFICE+ LUNCH ROOM
SECOND FLOORGALLERY
DN
DN
THIRD FLOORGALLERY
MANAGERS APARTMENT
30006000
900
400
BESPOKE GALLERY COUNTER DESIGN+ ELEVATION
SIGNAGE
OUTDOOR SEATING
ARTWORK DISPLAY
GALLERY HANGERS
GALLERY DISPLAY
BOOK STORE
CAFE
ENTRANCE
CAFE OUTDOOR
Hong Kong/ Shenzhen Urbanism and Architecture Biennale 2015-2016
In January 2016 I travelled to Hong Kong and Shenzhen to partici-pate in the HK/SHZ urbanism and architecture Biennale with a group of 25 other students from the Melbourne School of Design. Along with fellow student Hana Nihill, we created a graphic exhibition that was an exploation into the urban villae phenomena in Shenzhen as a speculative piece that explored the future potential of the unregulat-ed villages in the face of a decreasing chinese GDP and what this means for the mostly migrant workers that call these villages home.
1980 | Bao’on
6700 BC
1573
1953
1980
1938
Xin’an County- Spice Route
Zanue Tribe Base Japanese Occupation
Kowloon Railway Connection
The influx of migrant labour from different
regions in China have led to a rapid increase
of the demand for Low-rent housing in
urban villages particularly. This
market-driven factor, to varying degrees, has
triggered a large scale of housing expansions.
The regulated public spaces between
buildings have decreased from 8
metre and 3 metre to less than 1 metre;
building heights have increased to over 10
storeys, ratio plot from 1.3 to 4.
1990 | The Special Economic Zone
‘80 ‘12
Legal Residents
Illegal
HukouMigrant
Expat
"The scope, speed and scale of transformation
both from a social point of view, and from a
geographical point of view, is quite
unprecedented in human history" said Du.
With an original population of 30,000,
Shenzhen's official population was 12
million in 2005, making the demographic 99% migrants. There is no
easy way to capture the amount of traffic into and
out of the city; the population is never
static, or consistently calculated in official
documents. Du believes that the 22 million active SIM cards registered in
Shenzhen now may well be the most accurate
description of the volume of people and
activities observed in the city today.
Shenzhen, historically called "Bao'on", a
territory of treasured peace was known for its tranquil beauty. In 1979,
Deng Xiaoping established Special
Economic Zones (SEZs) in the Pearl River Delta region, with Shenzhen
being one of the zones, set up under common policies, receiving the
same economic treatments with its
peers. Shenzhen soon stood out among the
SEZs not solely due to the growth in its
population or economy, but also due to the
amount of constructed landscape that totally
changed the geography of the region.
2000 | Expanding City
Land lords were often to charge a premium for their land and tenancies, creating a class of well to do villagerd who often left the urban village for gated communities
I graduated from Sichuan Music and Art
College. Having worked as a designer in the
advertising industry, I started to feel bored, so I sold my business and
moved to Dafen in Shenzhen to seek a
new life. Unfortunately due to the financial
crisis I could not find a job in Dafen Village. I relied on my family to support me. I felt so ashamed of having
made the decision to move to Dafen.
Eventually, I found a job in an electronics factory with a monthly salary of 900 RMB. In my spare time I started to paint,
but my landlord disliked the smell of oil painting. I was forced to move into
a dormitory in the factory. After Chinese
New Year in 2010 I resigned from the
factory and rented a small exhibition area in
Dafen. It is about 2 square meters and
costs 500RMB each month. Since then I
have started painting again. So I am now a
painter in Dafen.
“I have been living in this house for two years,
since I came to Shenzhen with my
sister. For half a year, we operated a food stall
selling fried food. One day, my sister told me that she was dating a
local man. So she moved out of the house,
found a new job, and started a new life. Now I live with somebody from my hometown. Besides
selling fried food, we also do delivery jobs. I am trying to save 50,
000RMB. Then I will go back to my hometown
and open a small restaurant. life is not that
desirable here.”
2010 | Life and Work in the Migrant City
10,000+
10,000+
10,000+
5,000-10,000 1,000-5,000
1,000-5,000
“In an urban milieu where context and the genius loci of a place
have become subsidiary to economic
and political considerations,
reducing architecture to predetermined
programmes and their formal manifestation,
the act of binding architecture into the
story of its inhabitants can bring a new
relevancy to the built environment, projecting,
but not predicating the rules of its occupation.”
_AD: Drawing Architecture 2013
However, the increase of multiple cultures and
different regions of people have largely
increased the community lifestyles
within the villages. While some might reckon that
urban villages are densified and vulgar, others, on the other
hand, tend to regard this as a typical urban
village culture which enables the residents to
enjoy a busy and lively atmosphere among the
modern CBD area.
The creation of the floation popu.ation was
triggered by the increasingly larger
urban-rural income gap, which has developed since the mid 1980s.
Hundreds of millions of rural migrants have left
thier homes for cities for job opportunities and
better lives, resulting ain a huge labour
pool in urban areas.As they circulate among
jobs in different cities, rural migrants barey
have a chance to obtain hukou. Consequently
they are overlooked and excluded.
Pu Hao 2012 Utertcht University
In 2004, the average floor area ratio and
built-up density of urban villages in Shenzhen was 1.13 and 35%
respectively, indicating that urban villages were
much denser than the overall built-up area of
the city. The construction intensities
between the Special Economic Zone and the
non SEZ were significantly different.
With houses generally above six storeys, the
average floor area ratio of urban villages in the SEZ was 2.7 and the
average floor space of a single building was 506
m sq. However with much lower buildings, the floor area ratios of urban villahes outside the SEZ was only 1.0 and the average floor
space was 275 m sq. Pu Hao 2012 Utertcht University
2016+ | Demographics
5%
17%
13%
<2%
17%
“Jitters emanating from China’s equity and
currency markets have exposed widespread
fears that the way ahead will be rocky indeed- and
that Mr Xi and his colleagues are
ill-equipped to navigate it.”
_The Economist Jan 2016
“The problem is thus not an economic one per
se. It is that a government once widely thought of as all powerful -even over markets- may
be losing its grip.”
_The Economist Jan 2016
“Computer-aided design technology has
advanced rapidly in the past two decades and is
now widely adopted by architects. Today, digital
models can be produced faster and cheaper than
physical ones. despite being represented on a
flat screen, the digital model appears to be
three-dimensonal since it can be rotate, moved and navigated in real
time. Furthermore it can be be rendered to
produce photo-realistic still images. With these
qualities, the digital model has undermined
the primacy of the physical model as a
represetational device. At the same time, it has also
largely replaced the working model, as it is easy to edit and thus even more suited for
quick itterative design exploration than its
physical counterpart.”
“If robots are to be employed in he
construction of high-rise structures, logistics and
material systems have to be entirely rethought to
cater for both their abilities and limitations:
robots have limited loading capacity, but greater dexterity than
other on-site, automated construction techniques.”
_AD: Made By Robots, 2013