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Contemporary Architecture and the Digital Design Process introduces the reader to new developments in the computer modelling of design form in contemporary architectural practice through a series of detailed case studies. The book illustrates how evolving design practices use and exploit the potential of new computing technologies in a wide range of areas and application. A central thesis of this book is that technology follows design demand, rather than design adjusting to available new technology. Designers are not merely passive recipients of prescribed computing tools and techniques. Instead, they are increasingly able to express their intuitive design ideas through the rational medium of computing. The book features several contemporary building projects, each of which introduces a range of CAD and computing issues based upon the work of creative architectural and engineering design practices. These include the offices of Frank O. Gehry, Peter Cook and Colin Fournier, Anthony Hunt Associates, Peter Hubner, Szyskowitz-Kowalski, and Faulkner Brown. All these examples show what architects need to know and the skills they need to acquire to use advanced CAD technology.
Design Technology in Contemporary Architectural Practice lifts the curtain to unveil how eleven world-leading design studios integrate technology (such as computational design, BIM, and digital fabrication) as part of their day-to-day design exploration and delivery. Via first-hand accounts, the book offers rare insights about how these firms apply technology to purposefully disrupt and support their creative design processes in order to then explore how technology can be integrated on an organisational level. The resulting practice stories are loosely tied to four chapters that discuss how Design Technology corresponds to studio culture, collaboration and delivery protocols, business opportunities, knowledge sharing, staff empowerment, and more. The author is less interested in presenting the latest and greatest tools than in focusing on cultural and organisational challenges and opportunities. This book benefits both the professional market (such as design firms reflecting on their technology use), as well as the academic context (with its critical reflection on the interface between design process and technology support). Stories from the following design firms are included: Coop Himmelb(l)au Foster + Partners Bjarke Ingels Group (BIG) Zaha Hadid Architects Diller Scofidio + Renfo Heatherwick Studio Morphosis Architects SO-IL Woods Bagot Herzog & de Meuron LASSA
Leading scholars historicize and theorize technology’s role in architectural design Although the question of technics pervades the contemporary discipline of architecture, there are few critical analyses on the topic. Design Technics fills this gap, arguing that the technical dimension of design has often been flattened into the broader celebratory rhetoric of innovation. Bringing together leading scholars in architectural and design history, the volume’s contributors situate these tools on a broader epistemological and chronological canvas. The essays here construct histories—some panoramic and others unfolding around a specific episode—of seven techniques regularly used by the designer in the architectural studio today: rendering, modeling, scanning, equipping, specifying, positioning, and repeating. Starting with observations about the epistemological changes that have unfolded in the discipline in recent decades but seeking to offer a more expansive meaning for technics, the volume casts new light on concepts such as form, experience, and image that have played central roles in historical architectural discourses. Among the questions addressed: How was the concept of form immanent in practices of scanning since the late nineteenth century? What was the historical relationship between rendering and experience in Enlightenment discourses? How did practices of specifying reconfigure the distinction between intellectual and manual labor? What kind of rationality is inherent in the designer’s constant clicking of the mouse in front of her screen? In addressing these and other questions, this engaging and timely collection thereby proposes technics as a site for historical and philosophical reflection not only for those engaged in architectural design but also for any scholar working in the humanities today. Contributors: Lucia Allais, Edward Eigen, Orit Halpern, John Harwood, Matthew C. Hunter, and Michael Osman.
Architecture in the Digital Age addresses contemporary architectural practice in which digital technologies are radically changing how buildings are conceived, designed and produced. It discusses the digitally-driven changes, their origins, and their effects by grounding them in actual practices already taking place, while simultaneously speculating about their wider implications for the future. The book offers a diverse set of ideas as to what is relevant today and what will be relevant tomorrow for emerging architectural practices of the digital age.
Many books have covered the topics of architecture, materials and technology. 'New Architecture and Technology' is the first to explore the interrelation between these three subjects. It illustrates the impact of modern technology and materials on architecture. The book explores the technical progress of building showing how developments, both past and present, are influenced by design methods. It provides a survey of contemporary architecture, as affected by construction technology. It also explores aspects of building technology within the context of general industrial, social and economic developments. The reader will acquire a vocabulary covering the entire range of structure types and learn a new approach to understanding the development of design.
Curious about how Alsop Architects managed to construct that flying, translucent rectangle at the Ontario College of Art and Design? Wonder about the sustainability of the Genzyme Building? The saying "the truth is in the details" reveals an essential quality of architectural design. How a staircase curves, a roof seemingly floats, or a concrete wall illuminates are critical questions for architects looking at or creating new work. You might forgive designers for closely guarding their signature techniques. Fortunately, Edited bys Christine Killory and Rene Davids culled an amazing collection of the best trade secrets in Details in Contemporary Architecture.
Directly confronting the nature of contemporary architectural work, this book is the first to address a void at the heart of architectural discourse and thinking. For too long, architects have avoided questioning how the central aspects of architectural “practice” (professionalism, profit, technology, design, craft, and building) combine to characterize the work performed in the architectural office. Nor has there been a deeper evaluation of the unspoken and historically-determined myths that assign cultural, symbolic, and economic value to architectural labor. The Architect as Worker presents a range of essays exploring the issues central to architectural labor. These include questions about the nature of design work; immaterial and creative labor and how it gets categorized, spatialized, and monetized within architecture; the connection between parametrics and BIM and labor; theories of architectural work; architectural design as a cultural and economic condition; entrepreneurialism; and the possibility of ethical and rewarding architectural practice. The book is a call-to-arms, and its ultimate goal is to change the practice of architecture. It will strike a chord with architects, who will recognize the struggle of their profession; with students trying to understand the connections between work, value, and creative pleasure; and with academics and cultural theorists seeking to understand what grounds the discipline.
Differences brings together ten essays written over the past decade by the distinguished Spanish architect and theorist Ignasi de Solà-Morales. Differences brings together ten essays written over the past decade by the distinguished Spanish architect and theorist Ignasi de Sola-Morales. Many of the essays have never previously been translated, and the author has provided a new introduction especially for this English edition. Contemplating the panorama of contemporary art and architecture, de Sola-Morales posits that there is no one way to describe today's practice; instead he concentrates on elucidating the present dynamic of contrast, diversity, and tension. In an unorthodox pairing, de Sola-Morales derives his inspiration from both phenomenology and Deleuzean poststructuralism. Combining these philosophical inheritances allows him to reinvoke the human subject without referring to classical humanism or announcing the death of the object. His retrospective review of the disciplines of art and architecture, particularly as they have developed since World War II, provokes him to design, draft, and ultimately build a description of Modernism¹s lineage of subjectivity. The result is a provocative construction of fluid "topographies" that articulate, rather than depict, the shaky ground on which our current artistic and architectural production rests. The essays: Sado-masochism: Criticism and Architectural Practice. Topographies of Contemporary Architecture. Mies van der Rohe and Minimalism. Architecture and Existentialism. Weak Architecture. From Autonomy to Untimeliness. Place: Permanence or Production. Difference and Limit: Individualism in Contemporary Architecture. High-Tech: Functionalism or Rhetoric. The Work of Architecture in the Age of Mechanical Reproduction.
Dana Cuff delves into the architect's everyday world in "Architecture" to uncover an intricate social art of design, resulting in a new portrait of the profession that sheds light on what it means to become an architect.
"Foqué establishes a general design theory based on the axioms of pragmatic thinking, a crucial unity between experience and the process of learning, and between conceptual thought and situational consciousness. Building Knowledge develops a theoretical framework and practical instrumentation to establish a knowledge base for the discipline of architecture. Part one of the book presents design methods as a third way of investigating reality apart from scientific methods or the conception of art. By describing thescience-philosophical context, Foqué extensively analyses the nature of design activity and the design process, its inherent characteristics, and the differences between science and art. As such, it is argued that design processes have a research dimension an sich, which are essentially contextual and action driven. Foqué offers an integrated and comprehensive perspective to understand design activity both from an epistemological and practical standpoint. This results in an expanded discourse about the true nature of architectural design processes. Within this theoretical framework, part two explains how case study research is a primordial means to establish a knowledge base for the discipline and profession of architecture. From this premise, Foqué compares case study research in law, medicine and business administration and develops a practical and comprehensive approach to case studies in architecture. The methodology offers a solid and general framework wherein a consistent body of knowledge regarding architectural design processes can be generated. This promotes deeper insight in the complex relationship between context, product and process, which governs every design process on the one hand, and between the several stakeholders involved on the other hand."--Publisher.