Powerpoint Presentation to include:
-site plans with their overall strategies
-plan diagram w new proposed programs
-diagrams of continuity with larger Bayfront paths (proposed integration w Bicentennial Park waterfront circuits)
-sections addressing relationship w existing structures and "land/water" interface
-massing strategy, focusing on the "preparation of the ground" as infrastructure to receive architecture components
-movement circuits, diagrams of different speeds of experience of the project (running, walking, sports areas and path networks to join -internally as well as to join w existing main arteries and streets)
-summary of exercise 1 maya techniques as well as natural/artificial lines of research updated
-deployment of architecture components/masses as systems within their strategies
-3d perspectives and geometric mainframe
-"ambiance" renders w people, sensations, envisioned scenarios of use
Ps. -Some of you are doing network, rhythm, and pattern studies.... This must be included as well and should be strategically presented as studies which inform... (form, movement, circulation, program, sensibilities, etc) You have to make the argument and the connection.
--In respect to renderings, now that I've given you all a variety of tools and techniques for rendering. It is expected that you all practice them. Which means, typical maya software renders will NOT cut it. We should expect to see: Vector render overlay on Occlusion renders, Section Perspectives, and the use of Ramp Shaders.
Friday, February 27, 2009
Thursday, February 19, 2009
Tuesday, February 17, 2009
Saturday, February 14, 2009
Thursday, February 12, 2009
Tuesday, February 10, 2009
Here is a summary of the commands we saw over the last classes:
Display:
Select the perspective camera on the outliner, click twice on their icon and on the attribute editor modify the near clip plane and far clip plane values to 0.1 and 10,000 respectively; then do it for the other cameras.
If you do not find an object on the screen or cannot zoom properly on it, go to the outliner and select the object by its name and then for whatever panel you are on –suppose it is the perspective view- you will find a series of local menus, and the first one is View. Then you can find the selected object by View/Frame Selection or View/Look at Selection or View/Frame All.
Center Pivot:
If you want to rotate, scale, etc and object sometimes you will notice that the pivot/handle is not on the center of the object and you will need to go to
Modify/Center Pivot to correct that position and rotate, move or scale properly.
Cv curve tool:
Create/CV Curve Tool
Degree 1 curve makes straight lines
Degree 3 curve makes splines
Surfaces from curves:
Surfaces/Loft
The surfaces are obtained by selecting 2 consecutive curves and lofting, on ‘objects hierarchy’ (green icon on top shelf). For multiple curve surfaces, it is recommended to loft the first 2 curves, then select and loft the last curve with the following one, and so on…instead of selecting all curves at once –the latter may cause unprecise folds or surfaces out of control-.
The control is obtained by modifying relative position of cv’s after selecting curve and going to ‘components hierarchy’ (blue icon on top shelf).
Produce curves that have sober inflexions, and no more than 12 or 15 cv’s.
Working in this manner, you will obtain bodies made out of continuous folds that have smoothness in the direction of the predominant vector of the curvature.
Curves need to be obtained out of the first originating curve, by duplicating it and displacing it or editing the cv’s of them, therefore ensuring that there will be geometric cohesion/correspondence between all curves to be lofted.
At any point in time you can rebuild the curves to add or subtract spans for further editing; this causes change on the curve.
Curves should be understood as made out of straight segments with specific bending moments; for this when using the spline curve create intervals between sets of 3cv’s and those intervals can approach straightness depending on how you displace/accommodate the first and last cv of each group of 3, so you will have the first cv, then an interval and the first set of 3 cv’s producing a bend, then another interval followed by the next bend with 3 cv’s and so on, and lastly one cv to stop the spline. You can edit the form of the overall spline by selecting a set of 3 cv’s and scaling up or down for more relaxed or tighter effect at that particular bend, and the more the first and last of these 3 cv’s stand on the trajectory of the curve, the more you can control the straightness or slight arch of the intervals.
You can also add more cv’s to a curve, for more detail at a specific spot, but then the following curve that is used to loft with this one will need that extra cv as well.
Surfaces will have a dependency to the ‘history’ of the curves so you will notice that when you select a curve that affects such surface it will turn magenta.
If needed you can kill the history/dependency of that object by going to Edit/Delete by Type/delete History
Duplicate:
Edit/Duplicate
Rebuild:
Edit Curves/ Rebuild Curves
Edit Nurbs/Rebuild Surfaces
Add point:
Edit Curves/Insert Knot
Select the curve in ‘object bhierarchy’ then right click in space and select Curve Point and drag alongb the curve to a desired position, then go to Insert Knot. It will not fall exactly on nthat space but rather it will split the difference between that new position and the most immediate cv and you can then manually move it and have extra geometry to manipulate the curve.
You can explore all other editing commands for curves and surfaces under Edit Curves and Edit Nurbs menus (such as Attaching, Dettaching, Trim, Fillet, etc.)
Extracting a curve from an existing surface:
Select a surface, right click in space and select ‘isoparm’, then select any edge or internal existent isoparm and drag to desired position; then go to Edit Nurbs/Duplicate Surface Curves and you will obtain a new curve on that position.
Isoparms are not curves they are only a geometric virtual description of a surface, but you can select any number of isoparms holding shift, and turn them into curves for new purposes.
Surface Display:
A surface will show more smoothness or refinement by selecting it and then typing 1, 2, or 3. If you want to visualize it shaded type 5, and 4 for going back to wireframe display.
Channel Box, Layers, Attribute Editor:
The extreme right of the top shelf has 3 icons; the first one is the attribute editor that shows characteristics of any selected object (number of cv’s/spans, etc) and the third one will open up a column with the channel box and the layer editor.
The channel box will display translate, scale, and rotate precise numbers for all manipulations to objects in ‘object hierarchy’ and you can edit those conditions by typing precise numbers in those boxes.
The layer editor allows to create layers, and then click twice on the new one so you can name it and assign it a color; then select the desired objects, right click over the target layer and click ‘Add Selected Objects’.
Materials, Shaders:
Window/Rendering Editors/Hypershade
On the Hypershade you can create materials under ‘create’ and it is recommended to use blinn and phong for shiny surfaces and lambert for opaque ones; once you create the material select the desired object then right click on the material and click on Assign Initial Shading Group to Selection.
You can change the color, transparency, incandescence of the shaders by clicking twice on the material and clicking on the shaded little icon for the color –will open up a spectrum of colors and intensities-.
Grouping:
Edit/Group
When you need to move, scale, rotate, duplicate a number of surfaces and their origin curves, group them and then open/expand the group from the outliner clicking on the + sign, and within that set of curves and surfaces, group just the curves and only move, rotate or scale the grouped curves and this will affect the surfaces and the larger
group as well.
If you want to duplicate the whole group make sure to select duplicate
input graph on the duplicate options, so it extends the history dependences to the new group as well.
Deformers- nonlinear
For this you need to set up the Animation Mode on the top extreme left tab (otherwise you should always be on Modeling or Surfaces Mode)
Deform/Create Nonlinear/Bend, Flare, Sine, etc
Select an object or group of objects –if it’s a group always sel ct it directly by its name on the outliner- and apply a deformer. Initially this will not seem to have any effect, so while the deformer is actively selected go to the channel box and find midway the name of the deformer under ‘input’; click on the name of the deformer and it will open up different parameters; change those numbers and you will see the deformation that registers on the object. You can also rotate, scale the deformer and affect the piece in that way; it gives you indirect global control over an object or group of objects, without having to go to every single cv of the curves that made them.
Once finished with a particular deformer you need to kill the dependency to it, otherwise the whle group will keep reacting to it in unexpected ways.
Deformers-lattice:
Deform/Create Lattice
This is one of the most effective deformers, it can control both globally and locally with enough detail, depending on the density of the lattice you create (you can set that from the settings of the menu, which you will open clicking on the little square icon attached to the command before applying the lattice). It displays cv’s in component hierarchy so that they have weight of influence over the sector relative to the position of those selected cv’s.
Deformers-blendshape:
Select first the target object, then the base object - Deform/Create Blendshape
Make sure that the settings of the blendshape are World and Target Options: in-between.
It establishes a relationship of morphing between a base object and a modified version of it separated by a certain distance, for the purpose of obtaining a transformation and subsequent intermediate steps (using animated snapshot)
After creating the blendshape you want to access the Blendshape editor to be able to see the transformation live. Window/Animation Editors/Blendshape; that will open up a dialogue box, in there you can move the handle up and down and see the base morphing into the target shape.
The next step is to set up an animation and play it. Set up the timeliner (bottom of the screen) so that the origin is 0 and the end is 120; change the numbers on the 2 left boxes at the start of the timeliner to be 0 and the 2 right boxes on the end of the timeliner to be 120. that sets up the duration of the animation. You also need to set up the speed, and this you can do at Window/SettingsPreferences/Preferences/Timeline by selecting the PlayBack Speed to be real Time (24 frames per second).
Then manually move the timeliner handle to 0, then select th base object and go to the blendshape editor dialogue box and move the handle all the way down to; then in there press ‘key’ and then go to Animate/Set Key (or just press ‘s’ on your keyboard). So far you have just set the start of the animation; now click away to deselect the base object and manually move the handle of the timeliner all the way to 120; then select again the base object, go to the Blendshape editor and move the handle all the way up to 1; then click on ‘key’; finally, repeat Animate/Set Key (or just press ‘s’ on your keyboard).
Now on the timeliner you can play the animation using the play, stop, etc commands or by manually moving the handle.
Animation Snapshot:
Animate/Create Animation Snapshot
Select the base and before creating the animated snapshot set the settings like this:
Timerange: Timeslider
Increment: if you have an animation of 120 frames, then typing 12 will produce 10 objects between the base and the target.
Update: Fast
You will obtain a series of step-by-step for the mutation of the base into the target. You can use it to select intermediate states for further manipulation or you can also set the increments so that then you can loft in between edges of the steps and obtain a pattern of transformation, a continuous surface informed by a motion of mutation of states (select isoparms at edges of surfaces of 2 consecutive snapshot steps and directly loft these 2 isoparms; for the purpose of lofting they are as good as curves, or just turn them into curves and then loft)
To edit the Animation Snapshot:
After the animated snapshot has been created, you will find on the outliner a group called Snapshot1Group, which contains the steps or snapshot objects.
You can edit the base or the target object and change its form or relative position/rotation and obtain an update for the steps in-between by selecting the Snapshot1Group form the list on the outliner and then
Animate/Update Motion Trail-Snapshot
This will update the animated snapshot without having to produce any new animation.
Exporting/Importing to and from Rhino:
Make sure that the units for maya ar congruent with the units you use on rhino and autocad: Window/SettingsPreferences/Preferences/Settings/Working Units
When you import an IGES created in rhino to maya (File/Import) group them and then select that group name from the outliner and scale it up 10 or down 0.1 in x,y and z and that brings it to position (there is a scale increment of 10 between maya and rhino).
When exporting from maya (File/Export Selection) you may not find the IGES option.
Then you must go to Window/SettingsPreferences/Plug-in Manager and set on all plugins.
Select the perspective camera on the outliner, click twice on their icon and on the attribute editor modify the near clip plane and far clip plane values to 0.1 and 10,000 respectively; then do it for the other cameras.
If you do not find an object on the screen or cannot zoom properly on it, go to the outliner and select the object by its name and then for whatever panel you are on –suppose it is the perspective view- you will find a series of local menus, and the first one is View. Then you can find the selected object by View/Frame Selection or View/Look at Selection or View/Frame All.
Center Pivot:
If you want to rotate, scale, etc and object sometimes you will notice that the pivot/handle is not on the center of the object and you will need to go to
Modify/Center Pivot to correct that position and rotate, move or scale properly.
Cv curve tool:
Create/CV Curve Tool
Degree 1 curve makes straight lines
Degree 3 curve makes splines
Surfaces from curves:
Surfaces/Loft
The surfaces are obtained by selecting 2 consecutive curves and lofting, on ‘objects hierarchy’ (green icon on top shelf). For multiple curve surfaces, it is recommended to loft the first 2 curves, then select and loft the last curve with the following one, and so on…instead of selecting all curves at once –the latter may cause unprecise folds or surfaces out of control-.
The control is obtained by modifying relative position of cv’s after selecting curve and going to ‘components hierarchy’ (blue icon on top shelf).
Produce curves that have sober inflexions, and no more than 12 or 15 cv’s.
Working in this manner, you will obtain bodies made out of continuous folds that have smoothness in the direction of the predominant vector of the curvature.
Curves need to be obtained out of the first originating curve, by duplicating it and displacing it or editing the cv’s of them, therefore ensuring that there will be geometric cohesion/correspondence between all curves to be lofted.
At any point in time you can rebuild the curves to add or subtract spans for further editing; this causes change on the curve.
Curves should be understood as made out of straight segments with specific bending moments; for this when using the spline curve create intervals between sets of 3cv’s and those intervals can approach straightness depending on how you displace/accommodate the first and last cv of each group of 3, so you will have the first cv, then an interval and the first set of 3 cv’s producing a bend, then another interval followed by the next bend with 3 cv’s and so on, and lastly one cv to stop the spline. You can edit the form of the overall spline by selecting a set of 3 cv’s and scaling up or down for more relaxed or tighter effect at that particular bend, and the more the first and last of these 3 cv’s stand on the trajectory of the curve, the more you can control the straightness or slight arch of the intervals.
You can also add more cv’s to a curve, for more detail at a specific spot, but then the following curve that is used to loft with this one will need that extra cv as well.
Surfaces will have a dependency to the ‘history’ of the curves so you will notice that when you select a curve that affects such surface it will turn magenta.
If needed you can kill the history/dependency of that object by going to Edit/Delete by Type/delete History
Duplicate:
Edit/Duplicate
Rebuild:
Edit Curves/ Rebuild Curves
Edit Nurbs/Rebuild Surfaces
Add point:
Edit Curves/Insert Knot
Select the curve in ‘object bhierarchy’ then right click in space and select Curve Point and drag alongb the curve to a desired position, then go to Insert Knot. It will not fall exactly on nthat space but rather it will split the difference between that new position and the most immediate cv and you can then manually move it and have extra geometry to manipulate the curve.
You can explore all other editing commands for curves and surfaces under Edit Curves and Edit Nurbs menus (such as Attaching, Dettaching, Trim, Fillet, etc.)
Extracting a curve from an existing surface:
Select a surface, right click in space and select ‘isoparm’, then select any edge or internal existent isoparm and drag to desired position; then go to Edit Nurbs/Duplicate Surface Curves and you will obtain a new curve on that position.
Isoparms are not curves they are only a geometric virtual description of a surface, but you can select any number of isoparms holding shift, and turn them into curves for new purposes.
Surface Display:
A surface will show more smoothness or refinement by selecting it and then typing 1, 2, or 3. If you want to visualize it shaded type 5, and 4 for going back to wireframe display.
Channel Box, Layers, Attribute Editor:
The extreme right of the top shelf has 3 icons; the first one is the attribute editor that shows characteristics of any selected object (number of cv’s/spans, etc) and the third one will open up a column with the channel box and the layer editor.
The channel box will display translate, scale, and rotate precise numbers for all manipulations to objects in ‘object hierarchy’ and you can edit those conditions by typing precise numbers in those boxes.
The layer editor allows to create layers, and then click twice on the new one so you can name it and assign it a color; then select the desired objects, right click over the target layer and click ‘Add Selected Objects’.
Materials, Shaders:
Window/Rendering Editors/Hypershade
On the Hypershade you can create materials under ‘create’ and it is recommended to use blinn and phong for shiny surfaces and lambert for opaque ones; once you create the material select the desired object then right click on the material and click on Assign Initial Shading Group to Selection.
You can change the color, transparency, incandescence of the shaders by clicking twice on the material and clicking on the shaded little icon for the color –will open up a spectrum of colors and intensities-.
Grouping:
Edit/Group
When you need to move, scale, rotate, duplicate a number of surfaces and their origin curves, group them and then open/expand the group from the outliner clicking on the + sign, and within that set of curves and surfaces, group just the curves and only move, rotate or scale the grouped curves and this will affect the surfaces and the larger
group as well.
If you want to duplicate the whole group make sure to select duplicate
input graph on the duplicate options, so it extends the history dependences to the new group as well.
Deformers- nonlinear
For this you need to set up the Animation Mode on the top extreme left tab (otherwise you should always be on Modeling or Surfaces Mode)
Deform/Create Nonlinear/Bend, Flare, Sine, etc
Select an object or group of objects –if it’s a group always sel ct it directly by its name on the outliner- and apply a deformer. Initially this will not seem to have any effect, so while the deformer is actively selected go to the channel box and find midway the name of the deformer under ‘input’; click on the name of the deformer and it will open up different parameters; change those numbers and you will see the deformation that registers on the object. You can also rotate, scale the deformer and affect the piece in that way; it gives you indirect global control over an object or group of objects, without having to go to every single cv of the curves that made them.
Once finished with a particular deformer you need to kill the dependency to it, otherwise the whle group will keep reacting to it in unexpected ways.
Deformers-lattice:
Deform/Create Lattice
This is one of the most effective deformers, it can control both globally and locally with enough detail, depending on the density of the lattice you create (you can set that from the settings of the menu, which you will open clicking on the little square icon attached to the command before applying the lattice). It displays cv’s in component hierarchy so that they have weight of influence over the sector relative to the position of those selected cv’s.
Deformers-blendshape:
Select first the target object, then the base object - Deform/Create Blendshape
Make sure that the settings of the blendshape are World and Target Options: in-between.
It establishes a relationship of morphing between a base object and a modified version of it separated by a certain distance, for the purpose of obtaining a transformation and subsequent intermediate steps (using animated snapshot)
After creating the blendshape you want to access the Blendshape editor to be able to see the transformation live. Window/Animation Editors/Blendshape; that will open up a dialogue box, in there you can move the handle up and down and see the base morphing into the target shape.
The next step is to set up an animation and play it. Set up the timeliner (bottom of the screen) so that the origin is 0 and the end is 120; change the numbers on the 2 left boxes at the start of the timeliner to be 0 and the 2 right boxes on the end of the timeliner to be 120. that sets up the duration of the animation. You also need to set up the speed, and this you can do at Window/SettingsPreferences/Preferences/Timeline by selecting the PlayBack Speed to be real Time (24 frames per second).
Then manually move the timeliner handle to 0, then select th base object and go to the blendshape editor dialogue box and move the handle all the way down to; then in there press ‘key’ and then go to Animate/Set Key (or just press ‘s’ on your keyboard). So far you have just set the start of the animation; now click away to deselect the base object and manually move the handle of the timeliner all the way to 120; then select again the base object, go to the Blendshape editor and move the handle all the way up to 1; then click on ‘key’; finally, repeat Animate/Set Key (or just press ‘s’ on your keyboard).
Now on the timeliner you can play the animation using the play, stop, etc commands or by manually moving the handle.
Animation Snapshot:
Animate/Create Animation Snapshot
Select the base and before creating the animated snapshot set the settings like this:
Timerange: Timeslider
Increment: if you have an animation of 120 frames, then typing 12 will produce 10 objects between the base and the target.
Update: Fast
You will obtain a series of step-by-step for the mutation of the base into the target. You can use it to select intermediate states for further manipulation or you can also set the increments so that then you can loft in between edges of the steps and obtain a pattern of transformation, a continuous surface informed by a motion of mutation of states (select isoparms at edges of surfaces of 2 consecutive snapshot steps and directly loft these 2 isoparms; for the purpose of lofting they are as good as curves, or just turn them into curves and then loft)
To edit the Animation Snapshot:
After the animated snapshot has been created, you will find on the outliner a group called Snapshot1Group, which contains the steps or snapshot objects.
You can edit the base or the target object and change its form or relative position/rotation and obtain an update for the steps in-between by selecting the Snapshot1Group form the list on the outliner and then
Animate/Update Motion Trail-Snapshot
This will update the animated snapshot without having to produce any new animation.
Exporting/Importing to and from Rhino:
Make sure that the units for maya ar congruent with the units you use on rhino and autocad: Window/SettingsPreferences/Preferences/Settings/Working Units
When you import an IGES created in rhino to maya (File/Import) group them and then select that group name from the outliner and scale it up 10 or down 0.1 in x,y and z and that brings it to position (there is a scale increment of 10 between maya and rhino).
When exporting from maya (File/Export Selection) you may not find the IGES option.
Then you must go to Window/SettingsPreferences/Plug-in Manager and set on all plugins.
Design Writing Assignment
At which point does architecture and urbanisms come together? In the article ‘How to Construct an Architectural Genealogy’ by Timothy Hyde, he agues that in one example, they might meet in the mat building such as Venice Hospital. He goes on to say that massiveness and collected spaces allow every edge to hold a different condition. These actions help the object slowly settle itself safely throughout its surroundings, instead of defining itself into a distinct object. A transformation takes place within the city due to this mat building effect; the city performs like a building. More importantly, Hyde points out that the activities of mat building can modify dense horizontal surfaces of program, structure and circulation.
In Alison Smithson’s related article about recognizing and reading mat buildings, Smithson suggests that one should think in a process of several images. The main idea is that architects can learn from the past, not by initiating or copying, but by developing the main conceptual idea even further than what has evolved. This method of thinking let any and all projects open for more work, and more development.
Although it has been more than a decade since this article was written, the evidence remains vibrant in individual projects such as Foreign Office Architects’ Yokohama Port Terminal. This project indicated a mat movement and waiting spaces by means of warped and folded sheet plates. There is minimal formal distinction between garden spaces and the waiting spaces. These spaces only differ in the intensive occupational occurring along a continued surface. Circulation is vital in this project. A resident enters the interior and moves through a courtyard and patios. The grand inter-connectivity of it all makes the nodes they connect as important as the connections themselves.
Stan Allen’s article agrees with ideas of establishing a conceptual link with the aesthetics in architecture, but also to embrace the modern technological opportunities available. The shift between technologies of production and technologies of reproduction, architecturally speaking, was given expression as an architecture that produced meaning by the grafting of conventional signs onto a neutral technical frame. Work with transparency and depth, as well as shallow surfaces, has a meaning that resides in graphic information lying on the surface.
Post modernism is usually linked with a rediscovery, or similarity in architecture, in architecture’s historical past. In the 1960’s an equally important shift occurred that underwrote the postmodern turn in history. Postmodernism responded to a demand for meaning in architecture.
Going back to architectural thinking in frames this way competes with film, painting, literature, performance art, etc. Architecture’s relation to its material is indirect; it works in retrospect through calculation, abstract systems, and projection. Architecture’s instrumentality can be reconceived, at the site of architecture’s contact with the real. While it has been said that architects are not the engineers or the technicians of territory, communication and speed. Territory, communication and speed are infrastructural problems, and architecture has developed means to deal with these variables.
Architecture was a unique way of structuring the city in a way that theater, film, literature, and politics can not. Architecture addresses social and cultural aspects. Infrastructures do not propose certain building on specific site, but it prepares the ground for certain building and creates the conditions for future events.
In Alison Smithson’s related article about recognizing and reading mat buildings, Smithson suggests that one should think in a process of several images. The main idea is that architects can learn from the past, not by initiating or copying, but by developing the main conceptual idea even further than what has evolved. This method of thinking let any and all projects open for more work, and more development.
Although it has been more than a decade since this article was written, the evidence remains vibrant in individual projects such as Foreign Office Architects’ Yokohama Port Terminal. This project indicated a mat movement and waiting spaces by means of warped and folded sheet plates. There is minimal formal distinction between garden spaces and the waiting spaces. These spaces only differ in the intensive occupational occurring along a continued surface. Circulation is vital in this project. A resident enters the interior and moves through a courtyard and patios. The grand inter-connectivity of it all makes the nodes they connect as important as the connections themselves.
Stan Allen’s article agrees with ideas of establishing a conceptual link with the aesthetics in architecture, but also to embrace the modern technological opportunities available. The shift between technologies of production and technologies of reproduction, architecturally speaking, was given expression as an architecture that produced meaning by the grafting of conventional signs onto a neutral technical frame. Work with transparency and depth, as well as shallow surfaces, has a meaning that resides in graphic information lying on the surface.
Post modernism is usually linked with a rediscovery, or similarity in architecture, in architecture’s historical past. In the 1960’s an equally important shift occurred that underwrote the postmodern turn in history. Postmodernism responded to a demand for meaning in architecture.
Going back to architectural thinking in frames this way competes with film, painting, literature, performance art, etc. Architecture’s relation to its material is indirect; it works in retrospect through calculation, abstract systems, and projection. Architecture’s instrumentality can be reconceived, at the site of architecture’s contact with the real. While it has been said that architects are not the engineers or the technicians of territory, communication and speed. Territory, communication and speed are infrastructural problems, and architecture has developed means to deal with these variables.
Architecture was a unique way of structuring the city in a way that theater, film, literature, and politics can not. Architecture addresses social and cultural aspects. Infrastructures do not propose certain building on specific site, but it prepares the ground for certain building and creates the conditions for future events.
Monday, February 9, 2009
Sunday, February 8, 2009
Infrastructural Urbanism
Stephan Knipschild
In this critique, Allen begins by dissecting Architecture's recent past. His views on Post Modernism depict it for the weakening agent on architecture that it really is, how it calls on for meaning and a return to an almost symbolic approach. All this, of course, at pragmatics and adaptability's price. His arguments place this shift towards a lackluster design in areas ranging from government to historians.
The stronger point of this discourse is found in when, due to this return to symbology in design, he proposes the dropping of an intelligent, pre-fathomed, and predictive design, and calls for its return, above all, for the return of an infrastructural-oriented design, which is lacking in the modern world.
He then continues to evaluate and define this urbanistacally oriented architecture as a material practice, which engages its surroundings, both immediate and implied, and isn't based entirely on meaning and spirit, as was in Post Modernism. Its with this concept in mind that we can achieve an intelligent design in the urban context which accepts the present but acknowledges the future and the changes that come with it.
He closes his opinions with seven propositions for this new approach:
That infrastructure should work to construct the site itself as well
That they should be flexible and anticipatory, being able to adapt to changes that may come
That it should be open to improvisation from multiple sources
Its template for design should be pragmatic, foregoing the fanciful
It should not limit itself to being the problem its addressing, but rather maintain its own distinctions
It should be able to change as its surroundings change, but not for reasons of adaptability, but for the well being of its lesser components
Its aim must be in synchronization with its output (function-wise) rather than any other reason.
Stephan Knipschild
In this critique, Allen begins by dissecting Architecture's recent past. His views on Post Modernism depict it for the weakening agent on architecture that it really is, how it calls on for meaning and a return to an almost symbolic approach. All this, of course, at pragmatics and adaptability's price. His arguments place this shift towards a lackluster design in areas ranging from government to historians.
The stronger point of this discourse is found in when, due to this return to symbology in design, he proposes the dropping of an intelligent, pre-fathomed, and predictive design, and calls for its return, above all, for the return of an infrastructural-oriented design, which is lacking in the modern world.
He then continues to evaluate and define this urbanistacally oriented architecture as a material practice, which engages its surroundings, both immediate and implied, and isn't based entirely on meaning and spirit, as was in Post Modernism. Its with this concept in mind that we can achieve an intelligent design in the urban context which accepts the present but acknowledges the future and the changes that come with it.
He closes his opinions with seven propositions for this new approach:
That infrastructure should work to construct the site itself as well
That they should be flexible and anticipatory, being able to adapt to changes that may come
That it should be open to improvisation from multiple sources
Its template for design should be pragmatic, foregoing the fanciful
It should not limit itself to being the problem its addressing, but rather maintain its own distinctions
It should be able to change as its surroundings change, but not for reasons of adaptability, but for the well being of its lesser components
Its aim must be in synchronization with its output (function-wise) rather than any other reason.
Saturday, February 7, 2009
Stan Allen Essay
Stan Allen in his essay criticizes the idea of the modern architect’s role. Hs goes into explaining how today’s postwar modernism consists of shallow images and expressions. In contrast to the imaginative and self indulgent task to create a singular unit of one’s expression, Allen values the development of infrastructure. Architects now assert that signs and information are more important than infrastructure.
Architects have now be phased out of the development of the city. Through their work of self expression architects have retreated largely from functionality, and material practice. And although it may be difficult to reverse the perception there is now of an architect in order to be involved with the development of infrastructure, the can rethink their own ingenuity and technical knowledge towards issues of infrastructure. This would mean going beyond stylistic or formal issues. Infrastructural urbanism creates a new way to practice and a new way to look at architecture’s potential to build the new city. Infrastructural urbanism transforms architecture into material practice. It is architecture that existing to propose real proposals and strategies of implementation.
Stan Allen then goes further to explain the responsibilities of rethinking infrastructure. Infrastructure being a material practice, It concerns itself with the morphology of large scale assemblages over time, not working with meaning but performance. Material practice is more concerned with how things work more so than what they look like. However, it is not limited to the manipulation of given material. Infrastructure works more with the site than architecture which concentrates on the building that goes on it. It prepares the land for future events dealing with division, allocation, and the construction of surfaces. And although they are static in themselves, infrastructures organize complex systems of flow, movement and exchange.
Allen sees infrastructures as artificial ecologies. He explains that it can manage energies and recourses making it similar to a habitat. How they can develop the things needed to respond to changes, recourses and overall changing conditions.
Stan Allen in his essay criticizes the idea of the modern architect’s role. Hs goes into explaining how today’s postwar modernism consists of shallow images and expressions. In contrast to the imaginative and self indulgent task to create a singular unit of one’s expression, Allen values the development of infrastructure. Architects now assert that signs and information are more important than infrastructure.
Architects have now be phased out of the development of the city. Through their work of self expression architects have retreated largely from functionality, and material practice. And although it may be difficult to reverse the perception there is now of an architect in order to be involved with the development of infrastructure, the can rethink their own ingenuity and technical knowledge towards issues of infrastructure. This would mean going beyond stylistic or formal issues. Infrastructural urbanism creates a new way to practice and a new way to look at architecture’s potential to build the new city. Infrastructural urbanism transforms architecture into material practice. It is architecture that existing to propose real proposals and strategies of implementation.
Stan Allen then goes further to explain the responsibilities of rethinking infrastructure. Infrastructure being a material practice, It concerns itself with the morphology of large scale assemblages over time, not working with meaning but performance. Material practice is more concerned with how things work more so than what they look like. However, it is not limited to the manipulation of given material. Infrastructure works more with the site than architecture which concentrates on the building that goes on it. It prepares the land for future events dealing with division, allocation, and the construction of surfaces. And although they are static in themselves, infrastructures organize complex systems of flow, movement and exchange.
Allen sees infrastructures as artificial ecologies. He explains that it can manage energies and recourses making it similar to a habitat. How they can develop the things needed to respond to changes, recourses and overall changing conditions.
Friday, February 6, 2009
Mat Buildings by Timothy Hyde
Mat Buildings
The article by Timothy Hyde “How to Construct an Architectural Genealogy: Mat-Building…Mat-Buildings…Matted-Buildings”, is an interesting stance upon the development of an architectural style that consists of intricate spaces and the optimal positioning of these. Just like our default connotation of what a “mat” is, “mat-building” is described as being represented by the weaving of program and circulation along with the experimentation of solids and voids in the same way that a mat is composed of various elements, strands of material that are interconnected to make the whole.
It is interesting to note how an approach of this nature is likely to be grid-like, as was shown in the various examples given of what mat-buildings are like. It seems to open an opportunity for a formal language, derived from repetition of architectural elements or gestures. By defining spaces with corridors that connect in a mesh-like fashion and that also repeat in various directions, a consistent architectural language is created, allowing the designer to even omit certain repetitions of these gestures to create more open spaces within the iterations of form.
With the arrangement of mat-like spaces that weave into each other comes the superimposition of these mats, creating opportunities for a varied built landscape which provides different atmospheres from one layer to the next, or to place it in context, from one mat to the next. Such spatial arrangements however, seem to be more suitable in landscapes that call for it, such as on a gradient, where program could change as one goes up or down in relation to the said gradient. In this way, an optimal arrangement relying on densities of spaces, whether closed or open, is created to complement any external conditions, be it views or the need for shading or sunlight within the structure.
The article by Timothy Hyde “How to Construct an Architectural Genealogy: Mat-Building…Mat-Buildings…Matted-Buildings”, is an interesting stance upon the development of an architectural style that consists of intricate spaces and the optimal positioning of these. Just like our default connotation of what a “mat” is, “mat-building” is described as being represented by the weaving of program and circulation along with the experimentation of solids and voids in the same way that a mat is composed of various elements, strands of material that are interconnected to make the whole.
It is interesting to note how an approach of this nature is likely to be grid-like, as was shown in the various examples given of what mat-buildings are like. It seems to open an opportunity for a formal language, derived from repetition of architectural elements or gestures. By defining spaces with corridors that connect in a mesh-like fashion and that also repeat in various directions, a consistent architectural language is created, allowing the designer to even omit certain repetitions of these gestures to create more open spaces within the iterations of form.
With the arrangement of mat-like spaces that weave into each other comes the superimposition of these mats, creating opportunities for a varied built landscape which provides different atmospheres from one layer to the next, or to place it in context, from one mat to the next. Such spatial arrangements however, seem to be more suitable in landscapes that call for it, such as on a gradient, where program could change as one goes up or down in relation to the said gradient. In this way, an optimal arrangement relying on densities of spaces, whether closed or open, is created to complement any external conditions, be it views or the need for shading or sunlight within the structure.
infrastructure
Stand Allen starts his argument by comparing three images dating over 70 years back. A massive aircraft carrier, a big cruise ship, and a big airplane factory; all of them huge projects and were the biggest products of their time period. A common factor was that they all represented a new way of constructing things at a massive scale by utilizing new technologies, but still maintaining a connection between the aesthetic looks and the functionality. He says that it is not coincidence that urban infrastructure experienced a massive defunding around the time that postmodernism began to emerge. He partially blames the architects for allowing the bureaucrats and the politicians to forget about infrastructure and basically stop funding big and important projects like: highways, railroads, water supplies, mass transit and many more. All the sudden architects became more interested on designing at a smaller scale, almost forgetting about infrastructure and concentrating more on designing individual buildings, without taking in consideration the relationship with the larger scale.
He also states that architecture has recently shifted towards the practice of infrastructure, and that architects now have the chance to shape the future and the structure of the future cities. Infrastructure is an important aspect of architecture, and it allows the architect to connect the building and the design with the land. It provides a system in which architecture connects with all the aspects of the city, from the mass transportation, to the basic services like energy, water and communication. It is something more precise and more detailed than a master plan, it is the ground in which a city is built on, and it prepares the ground for future buildings and it creates conditions for the future events. Infrastructure is very flexible to the evolving changes in society, it slowly adapts to the shifting conditions, and is always evolving within a loose envelope of constrains. Infrastructure also serves as a canvas for many architects with different styles; it allows them to freely create and design their buildings, but it also sets technical and instrumental limits to their work. It also forces the architect to move away from self reference and individual expression, and encourages him to move towards collective enunciation. In a way infrastructure is like a natural system that has a life, and it depends of a series of activities. They manage the flow of resources on a site, and it is constantly adjusting to the habitat’s needs, and the needs of the environment. By taking into account the infrastructure of a city, the architect can design his building, and still have a connection to the site and to the surrounding buildings.
Infrastructural Urbanism and Mat Urbanism
Infrastructural Urbanism
Mat Urbanism: The Thick 2-D
Stan Allen explains how the idea of infrastructural urbanism has been changing. But its essence keeps being the same. Infrastructure urbanism is the means through which parts of the city are connected. He gives the example of the suburban city, where things are farther a part and the implementation of highways is necessary, and because of the construction of these new spaces are created, new ways of people to interact. In contrast to an Islamic city, were structures are close together, and the infrastructural urbanism in this case is different, there is no need for highways, but to provide spaces for public gathering. Infrastructural Urbanism provides the opportunity to improve human condition, but also is a material expression of how we live. He also expresses that infrastructural urbanism is a material practice, where the direct effect is projected into the program, event and activities that happened as a result. Infrastructural urbanism depends of the cultural and social settings, and it is the materialization of a concept. Changes made to our environment may prepare the ground for future events and changes.
In the other text he writes about a mat in urbanism. This is how architecture is connected and how it affects the people. Mats can have different characteristics, they may be solid or porous, may let movement go through or just stop it. They may wrap or wave their connections through. Mat creates a way to support and adapt social behavior, and create a relationship between us and our environment, build or natural. The porpoise of this mat is to create spaces and activate void spaces within the connections. He gives as an example landscape architecture, which has scattered functions but still behaves as a whole. Mat buildings reconfigure their urban context and have organizational strategies, which let the city flow through them. He also mentions the importance of recognizing the cultural setting and its uniqueness. Mat buildings are in constant contact with its context and offer continuity to the city.
Both pieces are closely related; one explains why infrastructure is necessary and what its function is in urbanism, while the other explains how infrastructure can be connected through mat buildings. I think that the project in the park represents a mat building, not only because it will connect the Bay Shore, but because it will serve to activate void spaces. It is important to take in consideration how an who will this project affect, and what type of activities are lacking in that part to be provided to improve the quality of life. Also by connecting the Bay Shore we will create a urban infrastructure for pedestrians, yet adjacent parts of the site are not suburbs or highly concentrated population areas, it is lacking of a medium to connect to the city, and most important to the bay. It represents and opportunity to establish a close relationship between the people and the environment. The park provides service to residents around the area, and it is an isolated park. It is enclose by the inlet to the north, the women’s club to the south, the bay to the east and high rises to the west. If seen from the Venetian causeway it is conceal by vegetation. The park represents the opportunity to create the beginning/ending of a mat building passing through Bay Front and Bicentennial Park
Mat Urbanism: The Thick 2-D
Stan Allen explains how the idea of infrastructural urbanism has been changing. But its essence keeps being the same. Infrastructure urbanism is the means through which parts of the city are connected. He gives the example of the suburban city, where things are farther a part and the implementation of highways is necessary, and because of the construction of these new spaces are created, new ways of people to interact. In contrast to an Islamic city, were structures are close together, and the infrastructural urbanism in this case is different, there is no need for highways, but to provide spaces for public gathering. Infrastructural Urbanism provides the opportunity to improve human condition, but also is a material expression of how we live. He also expresses that infrastructural urbanism is a material practice, where the direct effect is projected into the program, event and activities that happened as a result. Infrastructural urbanism depends of the cultural and social settings, and it is the materialization of a concept. Changes made to our environment may prepare the ground for future events and changes.
In the other text he writes about a mat in urbanism. This is how architecture is connected and how it affects the people. Mats can have different characteristics, they may be solid or porous, may let movement go through or just stop it. They may wrap or wave their connections through. Mat creates a way to support and adapt social behavior, and create a relationship between us and our environment, build or natural. The porpoise of this mat is to create spaces and activate void spaces within the connections. He gives as an example landscape architecture, which has scattered functions but still behaves as a whole. Mat buildings reconfigure their urban context and have organizational strategies, which let the city flow through them. He also mentions the importance of recognizing the cultural setting and its uniqueness. Mat buildings are in constant contact with its context and offer continuity to the city.
Both pieces are closely related; one explains why infrastructure is necessary and what its function is in urbanism, while the other explains how infrastructure can be connected through mat buildings. I think that the project in the park represents a mat building, not only because it will connect the Bay Shore, but because it will serve to activate void spaces. It is important to take in consideration how an who will this project affect, and what type of activities are lacking in that part to be provided to improve the quality of life. Also by connecting the Bay Shore we will create a urban infrastructure for pedestrians, yet adjacent parts of the site are not suburbs or highly concentrated population areas, it is lacking of a medium to connect to the city, and most important to the bay. It represents and opportunity to establish a close relationship between the people and the environment. The park provides service to residents around the area, and it is an isolated park. It is enclose by the inlet to the north, the women’s club to the south, the bay to the east and high rises to the west. If seen from the Venetian causeway it is conceal by vegetation. The park represents the opportunity to create the beginning/ending of a mat building passing through Bay Front and Bicentennial Park
Flexibility in Postmodern Architecture
Flexibility in Postmodern Architecture
In Stan Allen’s “Infrastructural Urbanism”, he talks about the diminishing role that architects play in the construction of the city, and the way postmodernism shapes recent architecture. The second lecture from “Venice Hospital” focuses on flexibility in architecture.
According to Allen, postmodernism in architecture consist of looking at history, and respond to contemporary demands. One of the findings of Stan Allen is that infrastructure projects have taken a step back in the U.S. Architects have also become less involve in the process, Partly because of specialization, which takes away a lot of the concern that architects used to deal with, consequently architects have been excluded from the design of cities. This is the reason Allen introduces infrastructural urbanism; Stan Allen states that architects are infatuated with meaning and image, that the focus should be on concrete proposals. Stan Allen is pushing for architects to focus more on the functionality of architecture and less on the way it looks. He also emphasizes that that architects should play a bigger role in the design of infrastructure, because infrastructure lays the foundations of the city.
In the "Venice Hospital" Hashim Sarkis focuses on flexibility in Architecture. There are many ways to express flexibility in architecture. The first for example is by giving a generic room multiple functionalities, either with moving furniture or partition walls. One would also argue that our world has change so much that our architecture has become flexible by necessity. A prime example of that is the fact the dynamics of the home has change; it’s not like in the 50’s and 60’s when the man would go to work and the woman stays home prepares dinner. In the home a lot of times both man and woman works, and sometimes the home becomes the work place. The introduction of technology has made architecture very flexible as well. It has worked in the industrial settings, by allowing manufacturing plants to be able to produce different products at a faster rate.
INFRASTRUCTURAL URBANISM - by Stan Allen
In the late sixties and early seventies, architecture shifted towards a semiotic approach. It carried out the meaning and representation instead of maximizing its attention to the architecture’s instrumentality and functionality. The meaning have been contaminated and wrongfully articulated in architecture, which in a way created a competition with artists, painter and others. Architecture is more than a representation of meaning, but the connection of the meaning and function.
“An opportunity to improve human condition” now it is conceived as “an opportunity to express human condition”
By Robin Evans
I agree with the quote above, because I believe the importance of the functionality of a concept has been lost and somehow replaced by its looks that are believed to represent an expression. Both Function and abstraction of meaning should work hand in hand in order to make a workable and enjoyable structure.
Stan Allen articulates in his reading that Infrastructural Urbanism have many things to offer towards architecture. Infrastructural Urbanism understands architecture as a motion of working with varieties of items and not only depending to the meaning of these items. It is a new approach to structure the city of the future. It has the ability to bring architecture to a material practice, which instrumentally works with the material by manipulating it. It transforms the material into a realistic object with the usage of abstract techniques. In architecture and Urbanism, technique is disciplined as a whole. Social and technical techniques are combined; with the recognition that social comes before the technical approach.
There are different approaches towards Infrastructural Urbanism, which the result would establish a workable system.
Thursday, February 5, 2009
Timothy Hyde_How to Construct an Architecture Geneology
What Alison Smithson is saying that when we are designing a building base on mat information. We always need to take in consideration the context of the surrounding area; the building needs to become part of the city or the neighborhood. Actually to see what this new building is going to attribute to the neighborhood and how people will use this building. Smithson says that we need to take in consideration the urban site by following the grid of the city and his will create a better organizational structure. Yes I agree that we always should take in consideration the grid of the city because like that we could create a better environment in our site, plus the people who are going to use the building will feel more comfortable on site.
Also always when we are designing we should take in consideration the program and the infrastructural accommodation of the place and people. The activities of mat-building can intertwine dense horizontal surfaces of program, structure and circulation to create a better design.
In addition of designing base on mat-building we can develop that whole design of the building, programs and forms by just overlaying and overlapped the mat information. Also by using mat we can create movement and flow of the structure and the people passing by.
In my opinion I think the mat-building is very important because we really understand more about the site as a urban level not just local.
Also always when we are designing we should take in consideration the program and the infrastructural accommodation of the place and people. The activities of mat-building can intertwine dense horizontal surfaces of program, structure and circulation to create a better design.
In addition of designing base on mat-building we can develop that whole design of the building, programs and forms by just overlaying and overlapped the mat information. Also by using mat we can create movement and flow of the structure and the people passing by.
In my opinion I think the mat-building is very important because we really understand more about the site as a urban level not just local.
Reading_1
Infrastructural Urbanism
By Stan Allen
I guess one overlooks to find the subtle limits of the limitations of what Infrastructure is. It is cause due to little or minimal connoisseurship of the meaning itself. Something interesting mentioned was that “the aircraft stands for a moment in which the technical and aesthetic formed a unified whole,” this is quite true when the continuity of the form overtakes the structure, and one could start to imagine/implore on these possibilities of the meaning behind it. Something interesting was to read how the consequence of shift from technologies of production to the technologies of reproduction by the grafting of conventional signs onto a technical frame (one could see this by the Bomber Factory).
Something that caught my attention was when was mentioned that Postmodernism in architecture is usually associated with a rediscovery of architecture’s past. This is very true especially when the rediscovery supersedes in a way, but maintains the attributes of previous works. It is somewhat of what we do now days with architecture. We still use the readymade forms but it is detached from the context itself and redefined with new discoveries. It was interesting how architecture is referred to as meaning and representation, but that in the sixties there was little attention paid to its instrumentality, or the difference between representation, and materiality. But nevertheless meaning is still an issue in architecture.
Also mentioned is that architecture’s frame moves, and is in constant competition with the media surrounding it (film, painting, literature, and performance art… ects) Architecture has the power to transform reality, and architecture is to its materiality indirect. An architect operates on reality at a distance, unlike a Gardner, or Woodworker, where something concrete is made. “Architecture is a material practice”... And it is usually operated through the mediation of abstract systems such as notation, projection, and calculation.
How to Construct an Architectural Genealogy
Mat-Building…. Mat-Buildings… Matted Buildings
By Timothy Hyde
The first thing to think about is the word itself… “Mat-Building” it describes a process, and refers to a product/consequence. It basically is composed, and seen throughout the projects mentioned as programmatic and circulatory elements which lead to a play of solids and voids within a legible geometric order. It was interesting because “Mat-Building” is also used in a scale where the architecture becomes urbanism as well. Instead of identifying a distinct object, “Mat-Building” weaves itself into the surrounding context, creating a building that performs as a city. An interesting point though is that Mat building always remains as a process, regardless of the formal characteristics of its product.
Mat-Building is something that finds genetic sources for its physical appearance. It is also a studied response to how to give space to the active unfolding of urban life without abrogating the architect’s responsibility to proof some form of order. Extremely important to think about what was mentioned (“If there is no order, there is no identity but only the chaos of disparate elements in pointless competition”)…. This is something we tend to forget in time to time, and end up with competition leading to nothing.
By Stan Allen
I guess one overlooks to find the subtle limits of the limitations of what Infrastructure is. It is cause due to little or minimal connoisseurship of the meaning itself. Something interesting mentioned was that “the aircraft stands for a moment in which the technical and aesthetic formed a unified whole,” this is quite true when the continuity of the form overtakes the structure, and one could start to imagine/implore on these possibilities of the meaning behind it. Something interesting was to read how the consequence of shift from technologies of production to the technologies of reproduction by the grafting of conventional signs onto a technical frame (one could see this by the Bomber Factory).
Something that caught my attention was when was mentioned that Postmodernism in architecture is usually associated with a rediscovery of architecture’s past. This is very true especially when the rediscovery supersedes in a way, but maintains the attributes of previous works. It is somewhat of what we do now days with architecture. We still use the readymade forms but it is detached from the context itself and redefined with new discoveries. It was interesting how architecture is referred to as meaning and representation, but that in the sixties there was little attention paid to its instrumentality, or the difference between representation, and materiality. But nevertheless meaning is still an issue in architecture.
Also mentioned is that architecture’s frame moves, and is in constant competition with the media surrounding it (film, painting, literature, and performance art… ects) Architecture has the power to transform reality, and architecture is to its materiality indirect. An architect operates on reality at a distance, unlike a Gardner, or Woodworker, where something concrete is made. “Architecture is a material practice”... And it is usually operated through the mediation of abstract systems such as notation, projection, and calculation.
How to Construct an Architectural Genealogy
Mat-Building…. Mat-Buildings… Matted Buildings
By Timothy Hyde
The first thing to think about is the word itself… “Mat-Building” it describes a process, and refers to a product/consequence. It basically is composed, and seen throughout the projects mentioned as programmatic and circulatory elements which lead to a play of solids and voids within a legible geometric order. It was interesting because “Mat-Building” is also used in a scale where the architecture becomes urbanism as well. Instead of identifying a distinct object, “Mat-Building” weaves itself into the surrounding context, creating a building that performs as a city. An interesting point though is that Mat building always remains as a process, regardless of the formal characteristics of its product.
Mat-Building is something that finds genetic sources for its physical appearance. It is also a studied response to how to give space to the active unfolding of urban life without abrogating the architect’s responsibility to proof some form of order. Extremely important to think about what was mentioned (“If there is no order, there is no identity but only the chaos of disparate elements in pointless competition”)…. This is something we tend to forget in time to time, and end up with competition leading to nothing.
Summary
Points & Lines: By Stan Allen Literary Summary: Ansel Blanco
Infrastructure can be thought of as the organizational value of the supporting mainframe. Like in ships, cars and airplanes, infrastructure is considered to be the organized forces of production.
The framework of a particular object can be analyzed as spatial and, “thought of to justify an architecture of surface an sign”, according to the writing by Stan Allen. Infrastructural Urbanism understands architecture to be known as the material practice of the framework.
Allen says that it is the large scale of master planning and the ego of the individual architect that causes the escapes of our suspect notions. Rem Koolhaas calls it the “semantic nightmare”. It is interesting to note that Allen writes about how architects cannot be held logically accountable, but it can be argued that the design of a theoretical framework would structuralize and justify architecture, and could have prevented their own marginalization.
Our suspect notions are our ability to suspect that there is a problem with representational architecture. That we return to architecture as an instrument of design, applying the techniques used to create the field condition or “directed fields” as Stan Allen says, thus allowing the development (program, event, and activity) to, “play itself out”.
Allen speaks about the problems of infrastructure urbanism as well. Problems like territory, communication, and speed but he seems to recognize architecture as a discipline always evolving to reach a solution. In this case, the specific technical means to effectively deal with these variables: Mapping, projection, calculation, notation and visualization. Infrastructural urbanism is more concerned with the performance, the calibration, and less concerned with what it looks like, what it can do is more important.
I believe the most important of the seven propositions Allen discussed in the essay is the first one: the construction of the site as opposed to the construction of specific buildings. The creation of the field condition for future events is what infrastructure can be said to accomplish. The second proposition simply distinguishes it from the predetermined master planning: “Infrastructures are flexible and anticipatory, they work with time and are open to any change, “a loose envelope”.
The Paradoxical Promise of Flexibility
“Valid ambiguity promotes useful flexibility.”
-Robert Venturi
In the later stages of Modernism, the 1960's and on, the obsession for functionalist architecture began to take on flexible qualities. Much of the functional architecture up to that point could be described as rigid and one-minded, and it became apparent as technologies and building use developed that architecture would need to be more flexible.
To achieve a higher level of flexibility, architects joined up with various fields of the sciences to find a possible solution or technique, and it was discovered that programming was a possible method by which this could be achieved. By definition, programming, with respect to architecture, is a “process by which information about a building project is analyzed and interpreted to better describe the spatial strategy around which the tasks and uses of the building will be organized.” That is to say, information gathered from site analysis and questioning local residents directly affects the development of the architecture and shapes the way the program is inserted.
This presents new challenges or qualities to the design process. The first of these is the empowered community. By referring to the local community for their experience and their thoughts about the needs for the area, you are also giving them a role in the design of the new building. It is no longer the architect creating his own set of problems to solve, but rather adapting to a set of issues that are defined by someone else. This forced those architects who clung to functionalist architecture to loosen up a little and pay more attention to the local issues. The other new quality of the design process was a clear separation between problem seeking and problem solving. It was no longer necessary to find/make up a set of problems that might not really exist, but instead encouraged to ask around the site to find what problems have already been identified.
As flexibility began to be introduced, it was done so more as a margin-of-error method as opposed to an entire building concept. I mean to say that architects simply made rooms a little larger and included more undefined space. But as the movement continued, several experiments in flexibility were successful in finding solutions. For example, in public schools, the cafeteria and auditorium were merged into one building to create a multi use space [cafetorium]. These two spaces were identified as the largest spaces in a school that were almost never used at the same time, so it was seen appropriate to merge them together.
In the Venice Hospital, it was Le Corbusier's intention to separate the specialized departments in the hospital while maintaining a flexibility for future development. He did so by dividing the building around cores of circulation with cellular units of repeatable flexibility. He deemed it necessary for the hospital to be designed for future expansion and included the means by which to do that. He was quoted during the projec for saying this, “Architecture must embody the difficult unity of inclusion rather than the easy unity of exclusion.”
Infrastructural Urbanism
In this article, Allen focuses on the impact that modern and post-modern architecture has had on urbanism. He explains that over the the course of thirty years, architects have slowly taken the responsibility of urban design away from themselves. It is more than likely, however, that this was not at all the intention, but through the development of new architectures they reduced the importance of urbanism. Architects have placed more importance on surface and sign, that is information and appearance, than infrastructure. This is evidenced by the massive reduction in funding for civic projects including rail, mass transit, and water supply and control.
Another of his points I the unique opportunity our profession has to “express the human condition.” He compares architecture to literature, art, and theatre as more than just a critique of reality, but transforming force. He says, ”Architecture is understood as a discursive system that expresses, critiques, or makes apparent the hard realities of a world that is held safely at arm's length.”
He finishes this piece by discussing his seven propositions for urban infrastructure.
The first one is the ability of infrastructure to construct the site as opposed to constructing the building. The building makes a connection to the urban fabric through the infrastructure.
The second point refers to the necessity for infrastructure to be flexible and anticipatory. That is to say, the urban infrastructure must recognize the changing city and be prepared to accommodate it. Anything else would be a failure.
The infrastructure should be aware of the city as a collective and responsively allow for th input of multiple groups. The city is not a uniform entity, but rather a massive collection of individual constructs longing to be linked to one another.
Local contingency vs. overall continuity. This builds on the previous point I believe, in that the urban infrastructure should respond to the individual buildings and at the same time relate them all together.
Infrastructure is static itself, but manages a complex system of flow, movement, and exchange. It is not necessary for it to be kinetic to manage the kinetic.
Artificial Ecology. Natural ecological systems work for a reason, and urban infrastructures can take a lesson from their organization.
Allows for detailed design of typical, repetitive elements. The infrastructure of the city should not be overbearing that it dictates the design of everything around it. It should create an environment in which individualization can thrive.
Site Analysis
This is a conposition of a 'birds eye view' of our site.
These diagrams are not 100% completed. The points of perspective for each panoramic has to be added.
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