The document discusses folding as a generative process in architectural design. It explores folding as a way to transform a single paper surface into a volume through a series of actions like folding, pressing, scoring, etc. It examines four phase transitions in the folding process: 1) exploring the material properties and transformations of paper; 2) developing folding techniques into algorithms; 3) mapping the folded paper as spatial, structural, and organizational diagrams; 4) developing the diagrams into architectural prototypes. Examples of prototypes include warped surface structures, wrapped interiors, niches, intertwining tubes, and urban encampments. The folding process is described as a way to manage complexity in architecture by integrating disparate elements.
Peter Eisenman is an American architect known for developing theoretical approaches influenced by structural linguistics and Jacques Derrida's philosophy of deconstruction. He received early training at Cornell University and Columbia University. Eisenman founded the Institute for Architecture and Urban Studies in 1967, and has designed several notable buildings using conceptual processes that manipulate grids and reference philosophical ideas, including House IV, the Wexner Center for the Arts at Ohio State University, and the Memorial to the Murdered Jews of Europe in Berlin. Eisenman's work aims to provoke questioning of norms and introduce instability through non-standard designs.
CONTEMPORARY PROCESS ON ARCHITECTURAL DESIGN Kethees Waran
This document discusses various types of digital architectures, including topological architectures, isomorphic architectures, animate architectures, metamorphic architectures, parametric architectures, and evolutionary architectures. Topological architectures use non-uniform rational B-splines (NURBS) to describe continuous curved surfaces. Isomorphic architectures are constructed from interacting "blobs" or fields of influence. Animate architectures use animation software and techniques like kinematics and dynamics to generate architectural forms defined by motion and force. Metamorphic architectures employ techniques like key shape animation and deformations to transform architectural geometries. Parametric architectures define relationships between objects using parameters and equations. Evolutionary architectures use genetic algorithms and computer models to simulate the evolution of architectural forms.
This document provides an overview of architecture during two major historical periods: the Industrial Revolution from 1750-1850 and the 19th century in the United States. It discusses how the Industrial Revolution led to new building types like factories, rail stations, and prefabricated structures. New materials like cast iron and glass were used. In the US, a grid plan was adopted for cities, and wood construction was later replaced by steel frames. Chicago developed a distinctive skyscraper style with elevators enabling taller buildings. Figures like Louis Sullivan helped establish the idea that form should follow function.
This document summarizes the impact of interactive animation software in the 1990s and the work of architect Greg Lynn. It discusses how animation software like Alias and Softimage enabled more organic and curved architectural forms. Greg Lynn was an early advocate of this shift away from rectilinear shapes. His work focused on how calculus-based software and computer modeling influenced architectural form. Projects like his New York Presbyterian Church used animation software in the design process. The document discusses Lynn's perspective on "animate form" and comparisons between his work and Peter Eisenman. It provides examples of Lynn's use of topological surfaces, splines, and abstract machines in his designs.
Chapter 21 modernism in archtecture at mid-centuryPetrutaLipan
This document provides an overview of modern architecture in the mid-20th century. It discusses key modernist architects and their works, including Frank Lloyd Wright and his Fallingwater house, Le Corbusier and his Purist theory of architecture, and Mies van der Rohe's influence on the International Style of skyscrapers with glass and steel. The document also covers the spread of the International Style globally and experimental housing designs from figures like Charles and Ray Eames.
Deconstructive Architecture and Its Pioneer Architects Rohit Arora
The concept of deconstructive architecture and main pioneers of deconstructive architecture. Town hall finland, Jacques Derrida ,Frank O Gehry , Bernard Tschumi, Zaha Hadid,Galaxy Soho, JVC entertainment Centre, Guggenheim Museum Bilbao.BMW Central Building.
The document discusses the architectural style of deconstructionism, which originated in the 1980s and was influenced by philosopher Jacques Derrida's theory of deconstruction. Key characteristics of deconstructionist architecture include manipulating and recombining basic building volumes into fragmented and irregular shapes through techniques like layering and angular geometries. The style rejects notions of purity of form and absolute truths in architecture promoted by modernism.
Peter Eisenman is an American architect known for developing theoretical approaches influenced by structural linguistics and Jacques Derrida's philosophy of deconstruction. He received early training at Cornell University and Columbia University. Eisenman founded the Institute for Architecture and Urban Studies in 1967, and has designed several notable buildings using conceptual processes that manipulate grids and reference philosophical ideas, including House IV, the Wexner Center for the Arts at Ohio State University, and the Memorial to the Murdered Jews of Europe in Berlin. Eisenman's work aims to provoke questioning of norms and introduce instability through non-standard designs.
CONTEMPORARY PROCESS ON ARCHITECTURAL DESIGN Kethees Waran
This document discusses various types of digital architectures, including topological architectures, isomorphic architectures, animate architectures, metamorphic architectures, parametric architectures, and evolutionary architectures. Topological architectures use non-uniform rational B-splines (NURBS) to describe continuous curved surfaces. Isomorphic architectures are constructed from interacting "blobs" or fields of influence. Animate architectures use animation software and techniques like kinematics and dynamics to generate architectural forms defined by motion and force. Metamorphic architectures employ techniques like key shape animation and deformations to transform architectural geometries. Parametric architectures define relationships between objects using parameters and equations. Evolutionary architectures use genetic algorithms and computer models to simulate the evolution of architectural forms.
This document provides an overview of architecture during two major historical periods: the Industrial Revolution from 1750-1850 and the 19th century in the United States. It discusses how the Industrial Revolution led to new building types like factories, rail stations, and prefabricated structures. New materials like cast iron and glass were used. In the US, a grid plan was adopted for cities, and wood construction was later replaced by steel frames. Chicago developed a distinctive skyscraper style with elevators enabling taller buildings. Figures like Louis Sullivan helped establish the idea that form should follow function.
This document summarizes the impact of interactive animation software in the 1990s and the work of architect Greg Lynn. It discusses how animation software like Alias and Softimage enabled more organic and curved architectural forms. Greg Lynn was an early advocate of this shift away from rectilinear shapes. His work focused on how calculus-based software and computer modeling influenced architectural form. Projects like his New York Presbyterian Church used animation software in the design process. The document discusses Lynn's perspective on "animate form" and comparisons between his work and Peter Eisenman. It provides examples of Lynn's use of topological surfaces, splines, and abstract machines in his designs.
Chapter 21 modernism in archtecture at mid-centuryPetrutaLipan
This document provides an overview of modern architecture in the mid-20th century. It discusses key modernist architects and their works, including Frank Lloyd Wright and his Fallingwater house, Le Corbusier and his Purist theory of architecture, and Mies van der Rohe's influence on the International Style of skyscrapers with glass and steel. The document also covers the spread of the International Style globally and experimental housing designs from figures like Charles and Ray Eames.
Deconstructive Architecture and Its Pioneer Architects Rohit Arora
The concept of deconstructive architecture and main pioneers of deconstructive architecture. Town hall finland, Jacques Derrida ,Frank O Gehry , Bernard Tschumi, Zaha Hadid,Galaxy Soho, JVC entertainment Centre, Guggenheim Museum Bilbao.BMW Central Building.
The document discusses the architectural style of deconstructionism, which originated in the 1980s and was influenced by philosopher Jacques Derrida's theory of deconstruction. Key characteristics of deconstructionist architecture include manipulating and recombining basic building volumes into fragmented and irregular shapes through techniques like layering and angular geometries. The style rejects notions of purity of form and absolute truths in architecture promoted by modernism.
The structure consists of a shell of reinforced concrete with four segments that extend outward from a central point. The concrete "wings" then unfold on either side of the exterior, preparing for flight. Within the concrete, the structure is reinforced with a web of steel.
Late Modernism encompasses the overall production of most recent architecture made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences.
Late Modernism, also known as High-tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernism and postmodernism.
Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly over stated at a time when Modernism was being questioned.
In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the themes and ideas which originated during the post modern times were added to the high tech architecture.
Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution.
The document discusses the history and development of artificial intelligence over the past 70 years, from early research into neural networks in the 1940s to modern deep learning techniques. While AI has made tremendous progress, fully human-level AI remains challenging to achieve and raises complex issues around safety, ethics, and its impact on society that require careful consideration and oversight. Overall progress in AI has occurred in steps by incorporating more data and modeling increasingly complex phenomena, but fully general human intelligence remains a long-term goal that will require ongoing research.
Peter Eisenman is an American architect known for his theoretical works and deconstructivist buildings. Some key works include House VI (1972-1975), a private residence built in Cornwall, New York that experimented with manipulating a structural grid to create unconventional and conceptual interior spaces. Eisenman also designed the Memorial to the Murdered Jews of Europe in Berlin (1998-2005), consisting of 2711 concrete stelae in varying heights with narrow paths between to disorient visitors and represent the absence of meaning in the Holocaust. Another notable building is the Wexner Center for the Arts at Ohio State University (1982-1989), where Eisenman used rotated grids and figures to link the past and present through fragmented representations of the site
The document provides background information on Adolf Loos and his critiques of ornamentation and Gesamtkunstwerk. It summarizes that Loos returned to Vienna in 1896 after time in America and was critical of the conservative Viennese architecture and the Secessionist movement. Loos published "Ornament and Crime" in 1908 to elaborate on his view that the Secessionists' use of ornament had no cultural relevance. The document then provides examples of Loos' architectural works from the early 20th century that demonstrated his purist style without ornament, including the Café Museum, Goldman & Salatsch store, and Kartner American Bar in Vienna.
Zaha Hadid is known for her imaginative and radical architecture. This study examines Hadid's strategy of design and techniques for developing unique architectural forms. The study analyzes over 200 of Hadid's projects through content analysis of interviews and documentation. Key findings include that Hadid's strategy involves intensive research considering site conditions, functions, circulation, and context. She applies techniques like manipulating plans and elevations to reflect interior spaces. The study categorizes Hadid's works into patterns based on prevailing form characteristics to understand her approach to design.
Aldo Rossi was an influential Italian architect and designer known for achievements in theory, drawing, architecture, and product design. Some of his notable works include the San Cataldo Cemetery in Modena, Italy (1971), the Teatro Carlo Felice opera house in Genoa, Italy (1991), and the Bonnefanten Museum in Maastricht, Netherlands (1995). Rossi's theoretical book The Architecture of the City (1966) argued that architects should draw from historical precedents and the context of the urban/cultural environment. He received several prestigious awards including the Pritzker Architecture Prize in 1990.
The Kolumba (previously "Diocesan Museum") is an art museum in Cologne, Germany.
The site was originally occupied by the romanesque Church of St. Columba, which was destroyed in World War II and replaced in 1950 by a Gottfried Böhm chapel nicknamed the "Madonna of the Ruins".
The new structure Zumthor built for the museum now shares its site with Gothic church and the 1950s chapel, wrapping a perforated grey brick façade.
Construction of the Kolumba began in 2003 and was completed in 2007.
The 21 1/4 inches long and 19/16 inches high bricks were handmade in the
region, a process which took over two years to complete.
Deconstructionism is a 20th century philosophical movement initiated by Jacques Derrida that questions assumptions about certainty, identity, and truth. Deconstructivism in architecture emerged in the 1980s, drawing inspiration from postmodernism and contemporary art movements. It is characterized by fragmentation, distortion, and rejection of ornamentation. Daniel Libeskind is a prominent deconstructivist architect known for projects like the Jewish Museum Berlin, which uses its zigzag shape and voids to symbolize the disappearance and absence of Jewish culture in Berlin during the Holocaust.
Brutalism cat& t - saurabh p. choudhary fym.arch jnec aurangabadSaurabh Choudhary
Brutalism was an architectural style that emerged in the 1950s and flourished until the 1970s. It originated from the French term "beton brut" meaning raw concrete. Brutalist buildings are characterized by strong geometric shapes made from concrete with rough unfinished surfaces. Some famous brutalism architects include Le Corbusier, whose UNITE D'HABITATION in France exemplified the style. While initially popular for its inexpensive construction, brutalism fell out of favor by the 1980s due to issues with deteriorating concrete over time. However, some brutalism buildings have since been renovated and recognized for their historical significance.
The Jewish Museum in Berlin was designed by Daniel Libeskind and constructed between 1992-1999. The museum's design uses three axes - the Axis of Continuity, Axis of Exile, and Axis of Death - to represent and explore the German-Jewish history through the visitor's journey. The zigzagging structure is derived from a dislocated Star of David symbol and features voids that symbolize the continuous suffering of the Jewish people.
Christopher Alexander was an influential architect, design theorist, and emeritus professor known for his works on architectural patterns and the nature of order in built environments. He was born in Vienna, Austria and received degrees from Cambridge University and Harvard University. Alexander authored several seminal books on architecture and design and designed over 100 buildings. His philosophy focused on creating living structures through 15 properties including strong centers, boundaries, graded variation, and inner calm. He argued cities develop in a more organic "lattice" structure than a compartmentalized "tree" structure and should allow for mixed functions and connectivity between areas.
Bernard Tschumi is a renowned architect known initially for his theoretical work. In the 1970s while teaching at the Architectural Association school in London, he developed the "strategy of disjunctions," a theory that contemporary culture and architecture were best expressed through fragmentation rather than classical unity. Tschumi's work often references other disciplines like literature and film, demonstrating his view that architecture should participate in and question cultural norms and structures.
The document discusses the key elements of urban design including buildings, building blocks, and streets. It explains that urban design involves coordinating these elements to create a coherent physical structure for cities. Buildings are designed at different scales from individual structures to neighborhoods. Building blocks are groups of buildings surrounded by streets that give areas a distinctive character. Street design must balance traffic flow with creating attractive pedestrian spaces incorporating streetscape elements. The example of Calle Crisologo in Vigan, Philippines highlights how coordinating these elements can preserve historical beauty.
Pudu Wet Market is a busy wet market located in Kuala Lumpur, Malaysia. It has operated since the 1970s and remains an important part of the local community, providing fresh produce and prepared foods. The indoor market has narrow walkways between stalls selling a variety of meat, seafood, produce and prepared snacks and meals. It attracts many local shoppers each day but also foreign visitors interested in the bustling atmosphere and cultural experience of a traditional Asian wet market.
Conservation and revitalization of historic buildingsALI HYDER GADHI
The document discusses conservation and revitalization of architecture. It defines conservation as processes to retain a place's cultural significance, including preservation, maintenance, restoration, reconstruction and adaptation. Revitalization is defined as conserving historic buildings and putting them to good use. Five common methods of building conservation are outlined - preservation, maintenance, restoration, reconstruction and adaptation - with examples provided. The class activity involves students role playing as stakeholders to discuss conserving an old, threatened building in their local area.
Structuralism- Art movement in Architecture.pptxSharupPaul
Hello everyone,
Here I prepared a slide on structuralism.Structuralism is a movement in architecture and urban planning that evolved around the middle of the 20th century. It was a reaction to Rationalism's (CIAM-Functionalism) perceived lifeless expression of urban planning that ignored the identity of the inhabitants and urban forms.So I want to share this.
Coates: topological approximations for spatial representationArchiLab 7
The document summarizes a student thesis that applies a Growing Neural Gas (GNG) algorithm to represent spatial topology. GNG is a type of self-organizing neural network that can learn and adapt based on "point intensity" or activity levels in a space. It creates a topology-preserving network of nodes to model spatial cognition. The student aims to further combine GNG with a Radial Basis Function for more flexibility, or with ant colony clustering for unsupervised classification of spaces. Representing spaces as evolving neural networks based on activity levels provides a model for understanding spatial cognition and complexity in architectural design.
This document summarizes a research article that explores the relationship between building circulation typology and wayfinding difficulty. The authors propose a cognitive-architectural description of three circulation types - linear, curved, and grid-based. They use the Amsterdam Municipal Orphanage building as a case study to systematically modify its layout and create examples of the different circulation types while keeping the functional organization comparable. Spatial analyses are conducted on the layout variations to examine visibility. Subjective judgments of anticipated wayfinding difficulty are also collected. Preliminary results suggest the linear circulation is easiest and grid-based most difficult to navigate, with curved intermediate, though behavioral validation is still needed. The study aims to develop a method linking circulation design and wayfinding performance through
The structure consists of a shell of reinforced concrete with four segments that extend outward from a central point. The concrete "wings" then unfold on either side of the exterior, preparing for flight. Within the concrete, the structure is reinforced with a web of steel.
Late Modernism encompasses the overall production of most recent architecture made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences.
Late Modernism, also known as High-tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernism and postmodernism.
Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly over stated at a time when Modernism was being questioned.
In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the themes and ideas which originated during the post modern times were added to the high tech architecture.
Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution.
The document discusses the history and development of artificial intelligence over the past 70 years, from early research into neural networks in the 1940s to modern deep learning techniques. While AI has made tremendous progress, fully human-level AI remains challenging to achieve and raises complex issues around safety, ethics, and its impact on society that require careful consideration and oversight. Overall progress in AI has occurred in steps by incorporating more data and modeling increasingly complex phenomena, but fully general human intelligence remains a long-term goal that will require ongoing research.
Peter Eisenman is an American architect known for his theoretical works and deconstructivist buildings. Some key works include House VI (1972-1975), a private residence built in Cornwall, New York that experimented with manipulating a structural grid to create unconventional and conceptual interior spaces. Eisenman also designed the Memorial to the Murdered Jews of Europe in Berlin (1998-2005), consisting of 2711 concrete stelae in varying heights with narrow paths between to disorient visitors and represent the absence of meaning in the Holocaust. Another notable building is the Wexner Center for the Arts at Ohio State University (1982-1989), where Eisenman used rotated grids and figures to link the past and present through fragmented representations of the site
The document provides background information on Adolf Loos and his critiques of ornamentation and Gesamtkunstwerk. It summarizes that Loos returned to Vienna in 1896 after time in America and was critical of the conservative Viennese architecture and the Secessionist movement. Loos published "Ornament and Crime" in 1908 to elaborate on his view that the Secessionists' use of ornament had no cultural relevance. The document then provides examples of Loos' architectural works from the early 20th century that demonstrated his purist style without ornament, including the Café Museum, Goldman & Salatsch store, and Kartner American Bar in Vienna.
Zaha Hadid is known for her imaginative and radical architecture. This study examines Hadid's strategy of design and techniques for developing unique architectural forms. The study analyzes over 200 of Hadid's projects through content analysis of interviews and documentation. Key findings include that Hadid's strategy involves intensive research considering site conditions, functions, circulation, and context. She applies techniques like manipulating plans and elevations to reflect interior spaces. The study categorizes Hadid's works into patterns based on prevailing form characteristics to understand her approach to design.
Aldo Rossi was an influential Italian architect and designer known for achievements in theory, drawing, architecture, and product design. Some of his notable works include the San Cataldo Cemetery in Modena, Italy (1971), the Teatro Carlo Felice opera house in Genoa, Italy (1991), and the Bonnefanten Museum in Maastricht, Netherlands (1995). Rossi's theoretical book The Architecture of the City (1966) argued that architects should draw from historical precedents and the context of the urban/cultural environment. He received several prestigious awards including the Pritzker Architecture Prize in 1990.
The Kolumba (previously "Diocesan Museum") is an art museum in Cologne, Germany.
The site was originally occupied by the romanesque Church of St. Columba, which was destroyed in World War II and replaced in 1950 by a Gottfried Böhm chapel nicknamed the "Madonna of the Ruins".
The new structure Zumthor built for the museum now shares its site with Gothic church and the 1950s chapel, wrapping a perforated grey brick façade.
Construction of the Kolumba began in 2003 and was completed in 2007.
The 21 1/4 inches long and 19/16 inches high bricks were handmade in the
region, a process which took over two years to complete.
Deconstructionism is a 20th century philosophical movement initiated by Jacques Derrida that questions assumptions about certainty, identity, and truth. Deconstructivism in architecture emerged in the 1980s, drawing inspiration from postmodernism and contemporary art movements. It is characterized by fragmentation, distortion, and rejection of ornamentation. Daniel Libeskind is a prominent deconstructivist architect known for projects like the Jewish Museum Berlin, which uses its zigzag shape and voids to symbolize the disappearance and absence of Jewish culture in Berlin during the Holocaust.
Brutalism cat& t - saurabh p. choudhary fym.arch jnec aurangabadSaurabh Choudhary
Brutalism was an architectural style that emerged in the 1950s and flourished until the 1970s. It originated from the French term "beton brut" meaning raw concrete. Brutalist buildings are characterized by strong geometric shapes made from concrete with rough unfinished surfaces. Some famous brutalism architects include Le Corbusier, whose UNITE D'HABITATION in France exemplified the style. While initially popular for its inexpensive construction, brutalism fell out of favor by the 1980s due to issues with deteriorating concrete over time. However, some brutalism buildings have since been renovated and recognized for their historical significance.
The Jewish Museum in Berlin was designed by Daniel Libeskind and constructed between 1992-1999. The museum's design uses three axes - the Axis of Continuity, Axis of Exile, and Axis of Death - to represent and explore the German-Jewish history through the visitor's journey. The zigzagging structure is derived from a dislocated Star of David symbol and features voids that symbolize the continuous suffering of the Jewish people.
Christopher Alexander was an influential architect, design theorist, and emeritus professor known for his works on architectural patterns and the nature of order in built environments. He was born in Vienna, Austria and received degrees from Cambridge University and Harvard University. Alexander authored several seminal books on architecture and design and designed over 100 buildings. His philosophy focused on creating living structures through 15 properties including strong centers, boundaries, graded variation, and inner calm. He argued cities develop in a more organic "lattice" structure than a compartmentalized "tree" structure and should allow for mixed functions and connectivity between areas.
Bernard Tschumi is a renowned architect known initially for his theoretical work. In the 1970s while teaching at the Architectural Association school in London, he developed the "strategy of disjunctions," a theory that contemporary culture and architecture were best expressed through fragmentation rather than classical unity. Tschumi's work often references other disciplines like literature and film, demonstrating his view that architecture should participate in and question cultural norms and structures.
The document discusses the key elements of urban design including buildings, building blocks, and streets. It explains that urban design involves coordinating these elements to create a coherent physical structure for cities. Buildings are designed at different scales from individual structures to neighborhoods. Building blocks are groups of buildings surrounded by streets that give areas a distinctive character. Street design must balance traffic flow with creating attractive pedestrian spaces incorporating streetscape elements. The example of Calle Crisologo in Vigan, Philippines highlights how coordinating these elements can preserve historical beauty.
Pudu Wet Market is a busy wet market located in Kuala Lumpur, Malaysia. It has operated since the 1970s and remains an important part of the local community, providing fresh produce and prepared foods. The indoor market has narrow walkways between stalls selling a variety of meat, seafood, produce and prepared snacks and meals. It attracts many local shoppers each day but also foreign visitors interested in the bustling atmosphere and cultural experience of a traditional Asian wet market.
Conservation and revitalization of historic buildingsALI HYDER GADHI
The document discusses conservation and revitalization of architecture. It defines conservation as processes to retain a place's cultural significance, including preservation, maintenance, restoration, reconstruction and adaptation. Revitalization is defined as conserving historic buildings and putting them to good use. Five common methods of building conservation are outlined - preservation, maintenance, restoration, reconstruction and adaptation - with examples provided. The class activity involves students role playing as stakeholders to discuss conserving an old, threatened building in their local area.
Structuralism- Art movement in Architecture.pptxSharupPaul
Hello everyone,
Here I prepared a slide on structuralism.Structuralism is a movement in architecture and urban planning that evolved around the middle of the 20th century. It was a reaction to Rationalism's (CIAM-Functionalism) perceived lifeless expression of urban planning that ignored the identity of the inhabitants and urban forms.So I want to share this.
Coates: topological approximations for spatial representationArchiLab 7
The document summarizes a student thesis that applies a Growing Neural Gas (GNG) algorithm to represent spatial topology. GNG is a type of self-organizing neural network that can learn and adapt based on "point intensity" or activity levels in a space. It creates a topology-preserving network of nodes to model spatial cognition. The student aims to further combine GNG with a Radial Basis Function for more flexibility, or with ant colony clustering for unsupervised classification of spaces. Representing spaces as evolving neural networks based on activity levels provides a model for understanding spatial cognition and complexity in architectural design.
This document summarizes a research article that explores the relationship between building circulation typology and wayfinding difficulty. The authors propose a cognitive-architectural description of three circulation types - linear, curved, and grid-based. They use the Amsterdam Municipal Orphanage building as a case study to systematically modify its layout and create examples of the different circulation types while keeping the functional organization comparable. Spatial analyses are conducted on the layout variations to examine visibility. Subjective judgments of anticipated wayfinding difficulty are also collected. Preliminary results suggest the linear circulation is easiest and grid-based most difficult to navigate, with curved intermediate, though behavioral validation is still needed. The study aims to develop a method linking circulation design and wayfinding performance through
CAA 2019 Krakow - When Harris met Allen in The Matrix: How can the conceptual...Keith.May
CAA 2019 Krakow - When Harris met Allen in The Matrix: How can the conceptual modelling of stratigraphic relationships facilitate deeper understanding of archaeological space and time?
This document outlines the module on design and analysis for a Bachelor of Architecture program. It discusses analyzing architectural works through various representational, analytic and interpretive tools. It also covers analyzing key elements of architecture like form, spatial configuration, and principles of architecture. The document provides guidance on critically analyzing architectural projects through preliminary analysis, secondary analysis, and analysis of elements, form, spatial configuration, and architectural principles. It emphasizes the importance of understanding the design process and formative ideas behind a building through analytical diagrams.
This thesis explores the design of a rapidly deployable architecture system using advances in parametric design, fabrication, and folding techniques. The goal is to create a modular shelter system that can be easily transported, assembled with minimal skills/infrastructure, and adapted over time from a temporary refugee camp into a permanent community. The study analyzes folding principles from origami to develop a deployable surface and generate various space types. Analog models will explore different materials before defining the system parametrically. The final design will balance portability, construction, growth potential, and cultural context to transform crisis-response shelters into sustainable housing.
One Sq.Km.: A Beijing - Montreal ComparisonJoe Carter
This book, made by students at the McGill School of Architecture in the fall of 2014, compares the urban form of Beijing and Montreal. The comparison is on the basis of sustainability criteria: population and building density, street network, land-use mix, streetscape, walkability, development pattern, and community. The work was guided by Joe Carter and He Hong Yu, visiting Sheff professors.
Coates p 1999: exploring 3_d design worlds using lindenmeyer systems and gen...ArchiLab 7
This document describes research using Lindenmeyer systems and genetic programming to explore 3D design worlds. Lindenmeyer systems are string rewriting systems that can be used to recursively generate 3D objects. The researchers used an isospatial grid to represent 3D space and represent objects as spheres inserted into the grid points. Genetic programming operations like crossover and mutation were performed on the Lindenmeyer system production rules to evolve new designs. Initial experiments tested the crossover operation and explored evolving objects in simple virtual environments with objectives like avoiding or seeking certain conditions.
Theory of design- unit 5 Contemporary design thinking process b.arch regulat...Kethees Waran
1. There are multiple understandings of diagrams and their uses in architecture. Diagrams can represent concepts through plans, sections, programs, functions, and circulation.
2. Plan diagrams often relate architectural form to spatial composition and layout. Sectional diagrams relate form to invisible phenomena like light and scale.
3. Program/function diagrams visualize how building form relates to intended space use. Circulation diagrams relate form to user movement.
4. Parametric design uses mathematical models with variables to generate designs through variations in shape, volume and geometry. Examples include designs responding to sun paths and dynamic museum displays.
Is Abstraction the Key to Artificial Intelligence? - Lorenza SaittaWithTheBest
With this comprehensive breakdown of abstraction's multiple layers and components, we can understand and answer the question if abstraction is essential to artificial intelligence.
Lorenza Saitta, Università del Piemonte Orientale
Space-Time in the Matrix and Uses of Allen Temporal Operators for Stratigraph...Keith.May
This document discusses using Allen temporal operators to model stratigraphic relationships in archaeological analysis. It summarizes the key temporal relationships identified by Allen that are useful for modeling stratigraphy, including before, meets, overlaps, during, starts and finishes. The document also discusses issues with inconsistent standards for digitally archiving stratigraphic data and relationships, and the need for standards to make this fundamental archaeological data more reusable. Finally, it calls for international conventions on stratigraphic recording and analysis to facilitate understanding and communication across disciplines.
This document discusses aspects of digital architecture and computational design processes. It covers topics like topological spaces, isomorphic surfaces, motion kinematics, parametric design, and how these digital approaches are used to generate complex architectural forms that were not possible before advances in computational design tools. Examples discussed include Gehry's Guggenheim Museum, which used CATIA software to design its intricate titanium curves, and the Kunsthaus Graz museum, whose blob-like form was generated digitally using NURBS modeling techniques.
This document discusses key aspects of digital architecture, including topological spaces, isomorphic surfaces, motion kinematics, and parametric design. Topological spaces use non-Euclidean geometry to complexify definitions of interior and exterior. Isomorphic surfaces are constructed from composite fields of influence that shift as parameters vary. Motion kinematics examines how animation software can incorporate forces and motion into architectural form generation.
The document discusses different theoretical approaches to architecture, including its relationships with sociology, technology, politics, art, philosophy, history, science, human perception, the city, and ecology. It notes that theory of architecture aims to define architecture's relationship with other institutions in society and how the architectural language expresses or represses the symbolic and organizational character of these other institutions. The various theoretical approaches analyze how factors like social changes, new technologies, power structures, artistic influences, and environmental concerns shape architectural form and urban design.
This document provides an introduction to architectural design theory. It discusses key elements of design like point, line, plane, volume, and form. It explains how points become lines, lines become planes, and planes become volumes or forms. It also discusses the properties of forms, including shape, size, color, texture, position, and orientation. Additionally, it covers spatial relationships and organizational strategies like centralized, linear, radial, clustered and grid layouts.
C0 Mixed Layerwise Quadrilateral Plate Element with Variable in and Out-Of-Pl...ijceronline
International Journal of Computational Engineering Research (IJCER) is dedicated to protecting personal information and will make every reasonable effort to handle collected information appropriately. All information collected, as well as related requests, will be handled as carefully and efficiently as possible in accordance with IJCER standards for integrity and objectivity.
Graham, Stephen, and Patsy Healey. "Relational concepts of space and place: i...Stephen Graham
This paper seeks to conceptualise and explore the changing relationships between planning action and practice and the dynamics of place. It argues that planning practice is grappling with new treatments of place, based on dynamic, relational constructs, rather than the Euclidean, deterministic, and one-dimensional treatments inherited from the 'scientific' approaches of the 1960s and early 1970s. But such emerging planning practices remain poorly served by planning theory which has so far failed to produce sufficiently robust and sophisticated conceptual treatments of place in today's 'globalising' world. In this paper we attempt to draw on a wide range of recent advances in social theory to begin constructing such a treatment. The paper has four parts. First, we criticise the legacy of object-oriented, Euclidean concepts of planning theory and practice, and their reliance on 'containered' views of space and time. Second, we construct a relational understanding of time, space and cities by drawing together four strands of recent social theory. These are : relational theories of urban time-space, dynamic conceptualisations of 'multiplex' places and cities, the 'new' urban and regional socio-economics, and emerging theories of social agency and institutional ordering. In the third section, we apply such perspectives to three worlds of planning practice : land use regulation, policy frameworks and development plans, and the development of 'customised spaces' in urban 'regeneration'. Finally, by way of conclusion, we suggest some pointers for practising planning in a relational way.
2012 evolutionary waves of place-shaping pre during and post recession - pu...Lee Pugalis
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This is a short talk that I gave at the Banff International Research Station workshop on Modeling and Theory in Population Biology. The idea is to try to understand how the burden of natural selection relates to the amount of information that selection puts into the genome.
It's based on the first part of this research paper:
The cost of information acquisition by natural selection
Ryan Seamus McGee, Olivia Kosterlitz, Artem Kaznatcheev, Benjamin Kerr, Carl T. Bergstrom
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Or: Beyond linear.
Abstract: Equivariant neural networks are neural networks that incorporate symmetries. The nonlinear activation functions in these networks result in interesting nonlinear equivariant maps between simple representations, and motivate the key player of this talk: piecewise linear representation theory.
Disclaimer: No one is perfect, so please mind that there might be mistakes and typos.
dtubbenhauer@gmail.com
Corrected slides: dtubbenhauer.com/talks.html
Equivariant neural networks and representation theory
Folding-architecture-sophia-vyzoviti.pdf
1.
2.
3.
4.
5. Folding as a
Morphogenetic Process in
Architectural Design
Folding as a generative process in architectural design is
essentially experimental: agnostic, non-linear and bottom up.
Our interest lies on the morphogenetic process, the sequence
of transformations that affect the design object. Considering
this an open and dynamic development where the design
evolves with alternate periods of disequilibrium, we can
appreciate the function of folding as a design generator by
phase transitions, that is, critical thresholds where qualitative
transformations occur. Cut off from the continuum of the studio
process, four phase transitions are presented further
illustrating the case with a visual essay: matter and functions,
algorithms, spatial-structural-organizational diagrams and
architectural prototypes.
8
Transition 1.: Matter and Functions
Ivory C.artoni is introduced as quintessential foldable material
given the paper's weight and structural capacity. The task is to
extensively explore transformations of a single paper surface
into a volume, with one constraint only, maintaining the
continuity of the material. The paper's transformative origins
are simple actions, intuitive responses, delivered here as a list
of verbs; fold, press, crease, pleat, score, cut, pull up, rotate,
twist, revolve, wrap, pierce, hinge, knot, weave, compress,
unfold. In the early folding performances, we can appreciate
the paperfold2 as a diagram in Deleuzianterms, an abstract
machine knowing nothing of forms and substances; operating
purely by matter and function3. Reading the paperfold as a
diagram, that does not represent but rather constitutes a new
type of reality introduces architectural research into a field of
actualization.
+
Transition 2: Algorithms
The paperfold is a dynamic artefact, unstable and evolving.
It bares the traces of the activity that brings it into being:
scores,. creases or incisions drawn in the surface of the paper.
The paperfold unfolded, becomes a map of its origination
process. Repetitive paper folding performances evolve initial
intuitive responses into primary techniques: triangulation,
stress forming, stratification of folds, folds within folds, or
patterns like strips, spline curves, spirals, or meanders.
Manipulation of paper surface in order to produce volume
constitutes a curriculum of activity, a program. Paperfold
generative transformations are structured in sequences.
We consider the succession of transformations resulting to the
paperfold artefact as a genetic algorithm of form. The task in
9
6. Transition 3: Spatial, Structural and Organizational Diagrams
Space emerges in the paperfold during a dynamic volume
generation process. The void bounded between the folds of the
paper manifests a curvilinear form that cannot be exactly
defined. Like its delimiting surfaces it manifests increased
continuity despite its fragmentation. Mapping the paperfold as
a spatial diagram requires an abstraction of spatial relations.
Geometric characteristics are initially irrelevant. Topological
properties are crucial to describe the space emerging in the
paperfold artefact; proximity, separation, spatial succession,
enclosure and contiguity.
The task in this phase is to perceive and configure the space
between the folds as actual space. Not yet as the virtual form
of a possible building or as an abstract geometric space but as
space accommodating an abstract program. A smooth space,
that needs to be occupied in order to be calculated.
We introduce the itinerary of a human body, a succession of
movement and stasis as abstract program. Accessibility is the
essential operation. Connectivity is consequential performance.
Loops and Crossings are emergent space concepts.
Given the consistency of ivory carton, the crease, the pleat and
the hinge acquire structural properties in the paperfold
artefact. In the folding process of surface warping creases
receive and distribute tension and compression. Structural
patterns mostly encountered in the development of paper
folding techniques are triangulated surfaces of increased
variabilit~. The fishbone6 is a major structural pattern deriving
from the domain of origami paper folding, a regular structure
susceptible to maximum variability.
Paperfold derivative organizational diagrams are entanglement,
interlacement and stratification. Serial variation of strips has
been observed as a folding technique that can evolve into an
organizational system. Due to the warping of the surface, the
dominance of t)1e oblique plane is expressed through a series
between horizontal and vertical. Blurred boundaries between
spaces indicate constant transformations in conditions of
enclosure.
this phase is to decipher the paperfold algorithm as a
morphogenetic mechanism. Generative sequences, augmented
techniques, unfolding, transformation mappings, instructive
plans and inventories of transformation are submitted here as
definitions of the paperfold algorithm. Understanding and
developing the paperfold algorithm transgresses the singularity
of the object spawning a series of similar but varying
artefacts. This re-introduces the problem of documentation,
requiring notation4 as a set of instructions that include time as
a variable. Thus the paperfold can be considered an event,
defined by Leibniz5 as an extension, where the object expands
into an infinite series of variability containing neither a final
term nor a limit.
Transition 4: Architectural Prototypes
In a design generative process by folding, the architectural
object is not an a priori target to be achieved. Given the
educational context, the spatial, structural and organizational
diagrams emerging in the process are developed into
architectural prototypes. The task here is to attribute
architectural properties to the diagram introducing parameters
of material, program and context. Thus we can define here as
architectural prototype the spatial, structural or organizational
diagram that has acquired 'architectural substance' 7.
10 11
7. A concise account of the prototypes developed in the studio
course illustrated here includes the warped surface series, the
wrapped interior, the niche, intertwining tubes, life-pods for
urban nomads, the living-workingmachine, the hollow dike and
the urban camping. Unlike disjunctive notions of cross, trans,
or dis-programmings, attributing architectural substance to the
paperfold diagram is a research project that seeks reciprocity
between spatial properties, organization of program and
structure. Nevertheless this reciprocity goes beyond
deterministic interdependence into a multiplicity of possible
associations. Through the evaluation of these prototypes we
could verify the discursive claim of folding in architecture as a
strategy that manages complexity by integration of disparate
elements into 'a heterogeneous yet continuous system'g,
Footnotes
1 Ivory carton is direct translation from the Dutch ivair kartan; thin, robust but
easy to cut white paper available from 90 to 300 g.
2 Paperfald is defined here as the result of the process of folding paper, the
product of a folding performance.
3 The argument for diagrammatic architecture comes in accordance to Deleuze
& Guatarri's notion of the diagrammatic being an intrinsic property of the
abstract machine: 'We define the abstract machine as the aspect or moment
at which nothing but functions and matters remain. A diagram has neither
substance nor form, neither content nor expression.' From A thousand
plateaus. capitalism and schizophrenia, translation Brian Massumi,
University of Minnesota Press, Minneapolis, 1987
4 Stan Ailen, 'mapping the unmappable-on notation' in Practice: architecture,
technique and representation, Critical Voices in art, theory and culture,
G+B Arts International, 2000.
5 Giiles Deleuze, The fold, Leibniz and the Baroque, trans. Tom Conley,
The Athlone Press, London, 1993
6 See also page 18 and 138 of this publication. For further reference consult
Origami Science and Art - Proceedings of the Second International Meeting
of Origami Science and Scientific Origami, Otsu, Japan, 1994
7 Stanford Kwinter, 'The complex and the singular' in Architectures of
Time-Towards a Theory of the Event in Modernist Culture, The MIT Press,
Cambridge Massachusetts, 2001
8 BernardTschumi,Architecture and disjunction, The MIT Press, Cambridge
Massachusetts, 1996 .
9 Greg Lynn, 'Architectural curvilinearity - the folded, the pliant and the supple'
in 'Folding in Architecture', Architectural Design, vo1.63, Academy Editions,
London, 1993
Sophia Vyzoviti, June 2003
12 13
32. Andreas Lokitek
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movement traces (all the points)
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hollow dike: urban skin
129
69. 1
FoldingArchitecture,
Concise Genealogy of the
Practice
Folding emerged as an architectural discourse aspiring to
become the new architecture of the end of the 20th century.
In the perspective of a concise genealogy we can consider the
Architectural Design Profile, guest-edited by Greg Lynn, Folding
in Architecture1its early manifesto. The issue released in
1993 comprises an anthology of essays and projects by a
group of architects seeking an alternative to the contradictory
formal logic of Deconstructivism, and includes among others
Cobb, Eisenman, Gehry, Kipnis, Lynn
and Shirdel. Featuring an excerpt from
Deleuze's, at that time recent English
translation, The fold, Leibniz and the
Baroque2; Folding in Architecture,
draws philosophical substance from
the work of Deleuze, a radical
understanding of Leibniz, employing
the Baroque as a theoretical tool to
analyze contemporary artistic and
intel1ectual movements.
Sophia Vyzoviti
130
Greg Lynn, in his contribution to the above issue, titled -
'Architectural curvilinearity - the folded, the pliant and the
supple', introduces folding as a third architectural response to
complex and disparate cultural and formal contexts, operating
neither by conflict and contradiction as Deconstruction nor by
unity and reconstruction as Neo-Classicm, New-Modernism and
Regionalism. Etymologically relating complexity with pliancy3,
the architecture of the fold is considered a cunning tactic for
intensive integration of difference within a heterogeneous yet
continuous system, working beyond addition by smooth
layering, a concept demonstrated with analogues from geology
as mineral sedimentation, and culinary mixing techniques.
Forms of viscosity and pliability are considered its new
instruments: forms that are sticky and flexible, 'where things
tend to adhere to'. For Lynn curvilinearilty is the formal
language of 'pliant architecture'. Husserl's unexact geometries
are essential for the comprehension of pliant forms: rigorous
geometries that in contrast to exact geometries, cannot be
reproduced identically, are irreducible to average points or
dimensions but can be determined with precision.
As a paradigm for geometry of multiple probable relations Lynn
introduces the supple topological surface of Rene Thom's
catastrophe graph.
In The fold, Leibniz and the Baroque4 Deleuze submits a set of
Baroque traits that stretching outside its historical limits are
contributing to the appreciation of contemporary art.
Considering them crucial for the understanding of the evolution
of the discourse on the fold into a practice of folding
architecture these traits are summarized:
131
70. 1. The fold: the infinite work in process, not how to conclude
but how to continue, to bring to infinity.
2. The inside and the outside: the infinite fold separates or
moves between matter and soul, the facade and the closed
room, the inside and the outside.
3. The high and the low: being divided into folds, the fold greatly
expands on both sides thus connecting the high and the low.
4. The unfold: not as the contrary to the fold but as the
continuation of this act.
5. Textures: as resistance of the material, the way a material
is folded constitutes its texture.
6. The paradigm: the fold of the fabric must not conceal its
formal expression.
Deleuze regards inflection as the ideal generic element of the
variable curve of the fold. Quoting his student Bernard Cache,
he defines the point of inflection as an 'intrinsic singularity'
involving three transformations: vectorial, projective and infinite
variation. In this frame Cache argues for a new definition of the
technological object, the 'objectile' as an event-assuming place
in a continuum by variation where industrial automation or
serial machineries replace stamped forms. This new status of
the object no longer refers to a spatial mould but to a temporal
modulation that implies as much the beginnings of a
_continuous variation of matter as a continuous development of
form. In Earth moves: the furnishing of territories5, published
in 1995 Bernard Cache proposes to re-define architecture as a
folded practice of interior and exterior relations and as the art
of the frame. Cache sets the conditions for the new in
architecture by the 'inflection image' focusing on furniture as
hinge between geography'and architecture.
132
Perhaps the most influential unexecuted project of the 90's
and probably the earliest to transcribe Deleuzian traits in an
architectural design are 2 Bibliotheques at Jussieu, Paris by
OMA in 1993. In this competition entry for the public library on
the university campus folding is employed both as organizational
diagram and a spatial device that produces density. Koolhaas
uses the metaphor of the 'the social magic carpet' addressing
the continuous floor surface of the building. The floors slabs
are sloped to coincide with the superceding and underlying
ones, producing a continuous path, 'a warped interior
boulevard that exposes and relates all programmatic elements'
thus transforming the library experience into that of an urban
landscape. Folding as a spatial device abolishes the 2.5-meter
human occupation heightconstraint while instigating a fIaneurie
through the library interior. In S,M,L,XL6 the paperfold is not
only illustrated as a concept model but also introduced into the
practice as a new architectural strategy and imagery.
The design exemplifies architecture neglecting the idea of the
facade, rather concentrating on the floor as a catalyst of
spatial connectivity and social interaction.
133
71. Investigating the origins of Jussieu's continuous sloped floors
we should acknowledge as precedents Virilio's concepts of the
oblique ground and habitable circulation. Paul Virilio and
Claude Parent_published in 1966 Architecture Principe, a series
of architectural and urban manifestos. Here Virilio develops the
theory of the 'oblique
function', an angular plane
that constitutes the 'third
spatial possibility for
architecture' subverting the
norms of horizontal and
vertical oriented space.
The oblique plane is
considered the instigator of
a tactile relationship
between building and body
primarily activated by disequilibrium. The oblique is idealized as
the field where the corrupted by the static architecture of
horizontal-vertical intense spatial perception is re-gained, by a
kind of eroticization of the ground. 'Architecture will no longer
be dominated by the visual, the faQade, but will relate to the
human body as a receptive totality'. The oblique plane alters
the relationship of space and weight: gravity affects perception
since 'the individual will always be in a state of resistance-
whether accelerating as going down or slowing down as
climbing up, whereas when one walks on a horizontal plane
weight is nil' 7. Virilio claims the origins of the theory of the
oblique in his childhood explorations. Interiors of upturned or
tilted bunkers on the coast of Normandy provided his first
experiences of 'unstable spaces'. The oblique plane, as third
axis in the Euclidean system, offers the opportunity for
habitable surface and circulation to become one continuous
space. The allocation of human activities on sequences of
oblique surfaces, cannot be exactly defined but require a
geometry of multiple probable relations, including zones of
predictability of activities as in Thom's catastrophe curves that
are constrained by percentage of inclination and material
texture.
The oblique plane as habitable circulation will prove to be one
of the most fertile concepts in the evolution of innovative
Architecture in the nineties, admittedly a prolific decade in
respect to folding. The Jussieu library project fertilizes the
folding discourse into architectural practice, spawning a series
of single surface projects in a generation of architects
worldwide. Particularly in the Netherlands the oblique floor
acquires tectonic substance in a number of projects becoming
a simulation of a landscape. Since an exhaustive enumeration
of such designs would exceed the limits of a concise survey-
only a few references will proceed. The continuous slopped
surface evolves within OMA's practice into the folded floor.
Kunsthall, Rotterdam 1993,
comprises a knot of paths,
circulation spaces involving
different kinds of movement:
exhibition visitors, passers
by and vehicles. The folded
. concrete floor manifests
tectonic mastery in the
Educatorium, Utrecht 1997,
a central facility shared by
the faculties of the
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134 135
72. consisting of a continuous strip unfolding in length to 110
meters. Bicycles can be stalled on both sides of the track. The
architects state that the design is based on a very functional
storage: 'Using the existing height difference along the station
square of 1,25 meters a system of slopes (3 degrees) has
been created on which the bicycles can be stored. Red asphalt
will be laid over the slopes like a carpet. Short cuts for going
up do exist in a number of bicycle stairs, but undoubtedly
cyclists will prefer to go down using the ramp. The expression
of the building will be made by an efficient detailing and
material choice, but chiefly by the sculptural form of the
slopes.'9 Despite this, the building in its performance appears
to be transgressing the infrastructural efficiency of the bicycle-
storage to become a new kind of public space and a
contemporary icon for the city of Amsterdam. Besides the
mass of commuters,
the bicycle-flat hosts a
number of other visitors:
tourists, filmmakers and
bmx-freestylers, whose
presence supports
Virilio's claim for
inhabitable circulation as
an instigator of social
interaction.
University of Utrecht. Described by Bart Lootsma 'the
Educatorium brings about an entirely new kind of spatial
experience in which is hard to tell where the exterior ends and
the interior begins. Passing through doors without noticing the
transition, one does not observe any staircases or even
thresholds- visitors glide into the building. Once inside,
movement is imperceptible from one level to another, even
though staircases are here and there, where vertical distance
to be bridged is sufficient to warrant one.' 8
If we consider flow as a prerequisite of a continuous surface,
the garage as well as the Guggenheim Museum of Modern Art
would qualify as architectural prototypes of inhabitable
circulation. Vehicular movement as an overriding architectural
program is the ideal brief for a folded organization. Avoiding
repeated reference to the car, another paradigm of the oblique
continuous plane as a superseding architectural element would
be bicycle parking. The bicycle-flat or fietsflat in Dutch designed
by Amsterdam based VMX Architects in 1998 and completed
construction in 2001, is conceived as a continuous-enfolded
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bicycle path. In the process of infrastructure upgrading, the
Amsterdam municipality decided to free the entrance plaza of
its Central Railway Station from the mass of bicycles, by
installing temporary storage for 2500 bicycles. VMX architects
proposed a three level self-supporting, de-mountable structure
Having elaborated on the continuous oblique surface, a major
feature of folding architecture, a new notion will be exemplified
further through the folded texture: the fabric revealing its form.
A reference to the work of Diller + Scoffidio serves as an ideal
introduction here.
136 137
73. In their 1995 winning international competition entry,
Yokohama Port Terminal, architects Alejandro Zaera-Polo and
Farshid Moussavi delivered a single surface prototype where
folding traits permeated all scales of the design. The urban
proposal introduced the continuous ground as a mechanism for
the penetration of urban space on the terminal's roof and an
instigator of a public space at the interface of terminal
functions and city events. It has been described by the
architects as '...a public space that wraps around the terminal,
neglecting its symbolic presence as a
gate, de-codifying the rituals of travel
and a functional structure which
becomes the mould of an a-typological
public space, a landscape with no
instructions of occupation' 11.
The cruise terminal program, consisting
of a bundle of diffuse and directed
movement including the flows of
citizens, passengers, visitors, vehicles
and luggage, is organized by the
layering and interlacing of paths.
The building's formal determination
manifests a topological surface
concept in sequences of inclined
curvilinear spaces that accomplish
smooth transitions between
programmatic elements. The structural
and construction principles intensify the overriding spatial
concept by assigning the origami folded steel plate as the
structural principle thus demolishing the traditional separation
between building envelope and structure.
In Bad Press folding materializes as a
process resulting in the re-configuration
of the masculine shirt as a critique to
standardization and a subversion of the
constitution of contemporary self-image.
In the winning competition entry for
Eyebeam, Museum of Art and
Technology in New Yorklo completed in
2002 the folded strip is deployed both
as spatial and organizational diagram.
The new Eyebeam building will house a museum of art and
technology, artist-in-residence studios, education center,
multi-media classrooms, state-of-the-art Theater and digital
archive. The facility will provide unprecedented production and
exhibition opportunities for artists exploring new media in
video, film and moving image art, OVO production, installation,
20/30 digital imaging, net art and sound and performance art
forms. The double folded strip displays the buildings formal
determination; it provides the interface
for the digital media space and
encloses its supporting infrastructures.
The pleated section of the Eyebeam
building computes. It is a plexus of
technological infrastructures and their
interfaces, into an intelligent
architectural smoothly layered skin.
The final reference in this survey embraces an emergent
architectural paradigm of a folded organization, considering the
projects scale and influence: the Port Terminal at Yokohama
Osanbashi Pier, completed in 2002 by Foreign Office Architects.
138 139
74. During the seven years implementation period of the project
the stress has shifted towards research based construction
pragmatics. As Alejandro Zaera-Polo states 'the structural
development of the project has become the main source of
ideas for its implementation and a trail of discovery that
reaches far beyond the images that have become the better
known side of the project'12. Research on engineering
processes in different levels was conducted in collaboration
with Japan based SGD engineers. A series of alternative
structural prototypes where developed before resolving to the
combination of girders and a folded plate structure. An origami
archetype, the fishbone pattern is the origin of the folded plate
visible on the roof of the terminal's halls. Origami structure can
be appreciated as regional reference supporting 'the introduction
of context as a process of material organization rather than
image'. Even though the fish bone comprises a regular generic
structure, every unit in the specific folded plate is differentiated.
Following the terminal's geometric guidelines that are
themselves inflected; the geometry of the pattern is tangential
to the circles regulating the complex curvilinear girders,
constantly varying in a lesser degree. Thus the structural
pattern extends through an infinite series of variability.
In conclusion, Folding Architecture - Concise Genealogy of the
Practice has registered the effect of the discourse of the fold
in the practice of architecture focusing on a small number of
landmark projects that have essentially contributed to its
evolution in the 10 years following 1993. The purpose of this
survey was to ground the studio research Folding as a
Morphogenetic Process in Architectural Design in a theoretic
and professional framework.
This genealogy has, however, omitted a line of work intersecting
Deleuzian discursive traits with computer generated design,
narrowing the perspective to end of 20th century techniques.
Given the opportunity of an extensive survey an update on the
recent work of Bernard Cache and Greg,Lynn would be
fundamental.
The traits introduced by Deleuze stimulated the thinking of a
generation of architects. Consequently the fold has acquired
architectural substance, manifested tectonic properties and
can be delivered now as design knowledge. The attributes of
the new architectural object emergent in the re-definition of the
practice are contended below in a set of propositions:
1. Extension: the object as an infinite series, serial variability
2. Multiplicity: the object as a plexus of elements, potential
interactivity
3. Curviliniarity: inflection, obliqueness, warping of surfaces
and non Euclidean geometries -
4. Stratification: layering and interfacing between contradicting
architectural factors
5. Continuity: topological properties of surfaces and
organizational principles
6. Fluidity: interlacement of boundaries, fuzzy demarcations
and zones of probability
140 141
75. By which I can submit the fold, Deleuze and the re-definition of
the practice, as an alternative title which may further the
research presented in this essay Folding Architecture - Concise
Genealogy of the Practice. Given the fact that a new generation
of architects is being educated on the foundation of this
discourse we can only expect an even more rigorous and
innovative performance in the future.
Footnotes
1 'Folding in Architecture', Architectural Design, vol.63.,~ Edtions,
London, 1993
2 Gilles Deleuze, The fold', Leibniz and the Baroque. tJ<R;.. KIf'"Coniey,
The Athlone Press, London, 1993, Originallypublished r fi'enct' as
Le PIi: Leibniz et Ie baroque,1988
3 ibid. 'Folding in Architecture', Greg Lynn, 'Architectural aniIneari)-
the folded, the pliant and the supple'
'The unforeseen connections possible between differentia;;ed sires and alien
programs require conciliatory, complicit, pliant, flexible ar-G ra- ~
tactics. Presently numerous architects are involved with the ~,
discontinuities and differences inherent within any culturaLand physEaI
context by aligning formal flexibilitywith economic, prograrnrJaOicand
structural pliancy, A multiple of pli based words- folded. plant, ~
flexible, plaited, pleated, placating, complicitous, compliar.t, ~
complicated, complex and multiplicitous to name a few- call be em:::aI ill
describe this emerging urban sensibility of intensive connectiIx-.s,: ~
4 Ibid, Gilles Deleuze, The fold, Leibniz and the Baroque
5 Bernard Cache, Earth moves: the furnishing of territories, trans..
Anne Boyman, ed, Michael Speaks, Massachusetts Institute ofT~
1995
6 Rem Koolhaas & Bruce Mau, S,M,L,XL, 010 publishers, Rotterdam, 1.995
7 Enrique Limon, an interview with Paul Virilio, 'Paul Virilioand the ObrKl'Je'.
in Sites and Stations -Provisional Utopias, S, Allen and K.Park eds..
Lusitania Press, New York, 1995
8 Bart Lootsma, SUPERDUTCH,Thames and Hudson, London, 2000
9 'Fresh facts', NetherlandsArchitectureInstitute,Rotterdam,2002
10 www.eyebeam.orgjmuseumjarch.html
11 Foreign Office Architects - 'Yokohama International Port Terminal',
AA Files no,29, London, 1995
12 Alejandro Zaera-Polo, 'Roller coaster construction',
verb_architecture boogazine, Actar, Barcelona, 2001
Iii
r
142
w.