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Digital Logics Assignment

The text “Deleuze and the Genesis of Form” written by Manuel Delanda is a criticism to the point of view that is made by religion and the explanation that all forms are given by the mind of god .But instead of he shows the different opinions of certain philosophers that the genesis of form is not transcendental but immanent to matter itself.in other words is that the most important thing is the journey or the path taken by matter itself to achieve certain form, this form is affected by a numerous natural forces that are responsible of this final shape. The sample that I like the most is the river pebbles that are moving and changing all the time by the outer forces but all these moves are not coincidence (selective accumulation and isolative consolidation)

The Rolex Learning Center it could be related to the reading by all the process made by the architects acting as the outer forces that are giving the final shape to the building , first it started as a representation of a landscape that its being altered by different subtractions  and elevation of the two shells. All these changes were made to respond to specific needs such as lighting and ventilation and to create a representative entrance for the building; in a way I think that most important thing for the building was the decisions process rather than the final form. Although it can be criticize by the form or the space efficiency or usability.

A topic that I’m really interested in the self-sufficient design that for me is trying to find the perfect balance between the use of vernacular materials and specific nature elements that can only be founded on the site, with an architecture that follows all the sustainable premises that at the same time is able to adapt to its immediate surroundings and environmental changes.

pebbles-at-the-river-alexander-kunz

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From Interaction to Complexity: Advanced Architecture.

Photography by: Roar Magazine

Case Study: Blur Building, by: Diller Scofidio and Renfro

Critical Reading: “Rhizome”by:  G. Deleuze, F. Guattari

When finding the accurate way of combining different elements and making them interact between each other in multiple ways, a certain level of complexity is reached and the advanced architecture begins. With elements, I’m not only referring to physical materials that compose architecture, but to human behavior and the natural changes in the context that affect the specific project. There is no exact recipe for interrelating various aspects, so this is when the role of the architect becomes helpful in designing the interaction among the ingredients to produce a final result.    Read More »

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Toward a Theory of Architecture Machines_Nicholas Negroponte_T5

Robot-gestures-011

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DIGITAL LOGICS – T6

generative-architecture-christoph-hermann-06

 

CASE STUDY: YOKOHAMA TERMINAL – by F.MOUSSAVI & A.ZAERA- POLO

 

Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. This Project start by declaring the site as an open public space and proposes to have the roof of the building as an open plaza, continous with the surface of Yamashita Park as well as Akaranega Park. The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape.

The Project starts with what the architects have named as the “no-return pier” with the ambition to structure the pier as a fluid, uninterrupted and multi-directional space, rather than a gateway to flows of fixed orientation. While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. Specific interlocking circulation loops allow the architects to subvert the traditional linear and branching characteistic of the building.

The project is produced as an extension of the urban ground, constructed as a systematic transformation of the lines of the circulation diagram into a folded and bifuracted surfaces. This structure is especially adequate in coping with the lateral forces generated by the seismic movements that affect the japanese topography.

Its radical, hyper-technological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces.

The floors of the second floor and rooftop are finished with wood to give a feeling of a ships deck. An extensive, gently curving observation deck with planted grass areas, open to the public on the rooftop. This way, the Terminal is designed to serve as a working pier as well as an enjoyable and relaxing park-like public facility for Yokohama residents.

Parametricism is a great new style “Finding forms not by thinking but through stimulations”.Yokohama terminal is an architeture based on advanced computational techniques. Parametricism would be the topic that I would like to do research on. This avant-grade architecture addresses to the social demand via a rich panoply of parametric design techniques.

 

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The Genesis of Form: Creating Self-Consistent Architectures

Traditionally, it was believed that form was “assigned” by the higher powers, and so the world and everything in it were created in God’s eye. But the philosopher Deleuze argued otherwise. “The resources involved in the genesis of form are not transcendental but immanent to the material itself.” A soap bubble is round and a salt crystal is cubed due to the physical and chemical properties of the molecules of which they are composed. But even more interesting are what Deleuze refers to as “spaces of energetic possibilities” (aka “state spaces” or “phase spaces”), for example in a more complex process such as embryogenesis, where “the division of the egg is secondary in relation to more significant morphogenetic movements”. Material and energy flows determine the behaviour of a substance and its resultant form at every moment – in essence, there exists a mathematics that already “knows” which form will exist at any given phase.

Deleuze also talks about two key structures, namely “strata” and “self-consistent aggregates” (or “trees” and “rhizomes”, respectively). A good example involves sedimentary rock, which is composed of highly ordered and homogeneous layers of pebbles, but the sorting mechanism that created this architectonic structure – flowing water and gravity – operated quite simply according to basic physical principles. Similarly, the formation of such strata can also be observed within the biological and social realms. To generalize, heterogeneous elements, when affected by a series of operators, or “intercallary elements”, organize accordingly and interlock locally, resulting in organized systems with decreased entropy.

For me, all of this translates simply to the idea that ecosystems (whether physical, chemical, or biological) always strive towards a low-entropy state – the path of least resistance, so to speak. In nature, material is expensive, but shape is cheap, and so forms will naturally evolve according to the most efficient process possible and ultimately arrive at the most efficient configuration possible. I have always been fascinated by how form is dictated by mathematics. In my mind, the human approach to design is often arbitrary, and based on aesthetics and stylistic considerations. When one looks at the amazing creations of nature, one realizes that evolution operates not according to a bigger picture, but based on low entropy mathematics which will always yield the most efficient (and often effective) result. For example, if one examines the ROLEX Learning Centre, designed by SANAA, one will realize that a lot of the design decisions are perhaps arbitrary. Why create a rectangular building with a 9 m x 9 m grid and then cut spheroidal openings into it? Why fourteen openings and not twelve or fifteen? Why this landscape pattern and not another version? However, many aspects have no doubt been carefully considered and efficiently calculated – for example, the curvature of the shells; the divisive effect of the contours, both physically and psychologically; the acoustics throughout the building; the penetration of light; the proportion of all the elements and furniture in the building; and so on. Of course, architects design buildings for people, and since people are capable of complex thought, bodily perception, and emotional experience, not to mention that our buildings must satisfy a wide array of programmes and functions, architectures for people must take these elements into account. Perhaps the mathematics of design for humans is not as simple or as objective as the mathematics of cellular morphogenesis.

Ultimately, I remain curious about developing both architectures and building processes that mimic morphogenetic qualities and remain as efficient and effective as possible throughout all phases of a building’s existence. This reminds me of Sean Lally’s “The Shape of Energy”, where architecture composed of “material energies” can change and adapt, appear and disappear instantaneously, based on climatic conditions and human needs. There is no waste and senselessness – only logic and responsiveness exist in such architectures. How can we accomplish this in the physical realm, with concrete materials? Can we transgress conventional design and instead act as guides for “self-consistent architecture”?

http://homebuilding.thefuntimesguide.com/2008/02/pooktre_tree_shapers.php

http://homebuilding.thefuntimesguide.com/2008/02/pooktre_tree_shapers.php

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