Critical Analysis Final

‘MuscleBody’ by Kas Oosterhuis, implements real time computing through applications, which operate to an input-output latency of seconds, enabling response to stimuli within milli- or microseconds. The project also utilises programmable interactive architecture engaging in future-oriented research to interact between players and object. It responds to specific requests, reconfiguring itself in real-time based on the premise that, interaction can take place only between two active parts, where one active part is the user and the other one is the building. With this technology, MuscleBody is able to alter its shape, degrees of transparency and the sound that it emits in real time via a computer programs calculations which sends corresponding instructions to the structure. Ultimately, MuscleBody is a dynamic hypersurface.

For the project to be dynamic, it must rely on responsive technologies and programming. For the project to exhibit real time behaviour, various motion and sound sensors must be implemented, code programmed and human interactivity required to create the dynamics of this hypersurface. The project itself is literally a hypersurface; Oosterhuis was so heavily involved with hypersurfaces and real time behaviours he created and directs a research group called ‘Hyperbody’, who introduce interactivity in the process of design as well as during the use and maintenance of buildings. A similar project of Oosterhuis’ is the Saltwater Pavilion; it too has real time behaviours, responding to peoples movements via audio, lighting effects and dynamic movement. Not only does the project respond to people within the structure, it responds to outside weather conditions, with its colour and dimming sequences being controlled by data from a maritime board unit.

Real time behaviour implies an additional computational concept; motion kinematics and dynamics, which are motion-based modelling technqieus, such as forward and inverse kinematics and dynamics. Generating design in such environments offers the possibility to simulate the movement of people in order to develop architectural devices responding to this movement.

WK 11 Readings

The “Editorial – Open Source Architecture” in Domus 948 discusses the emerging procedures for design, construction and operations of buildings through open source architecture. This new procedure is made possible through a collaboration of amateurs and experts working together. “…producing recipes for everyday buildings – is another form of early lo-fi open-source culture, optimising technologies for building.”¹

This way of working eliminates the hierarchy of client architect occupant, giving everyone an equal share. This method is praised in the editorial, however, it seems illogical to allow an expert in the field so be ‘de-ranked’ and placed with those who know little to nothing about the project in the long run. However, open source architecture allows for mass customisation as well as personalisation, replacing the standardisation of housing and other structures in architecture. Buildings are able to be modified accordingly to each individual’s needs, creating different and unique buildings from the same base plan. Essentially, enabling sharing and collaboration in designing kinetic or smart environments that tightly integrate software, hardware and mechanisms.

New economic models open up new modes of project initiation and development via programs such as “Kickstarter” and “Sponsume”, “destabilising the traditionally feudal hierarchy of client/architect/occupant.”² Although open source allows people to work together, standards are vital to a smooth operation and collaboration. This addresses issues of hardware compatibility between the interface and those designing across the network.

These standards can become a negative factor, restricting designers and others from participating due to lack on inadequate software and/or hardware. By working in such a dense group, design creativity can be diluted when such numbers are involved which is why I don’t see open source being successful in large projects.

1.       “Editorial – Open Source Architecutre” in Domus 948, June 2011, p.3

2.       “Editorial – Open Source Architecutre” in Domus 948, June 2011, p.3

WK 10 Readings

Patrik Schumachers article “Parametric Patterns” discusses the use of the ornament, decoration and spatial distribution to create an atmosphere. “The human body was perhaps the first surface to receive designed patterns. Architectural patterns thus have a broad and deep lineage, and one should not expect them to have any well-defined, unitary function.”¹ He relates the use of ornament and decoration to purposefulness of any building, considered from three key principals: purposefulness of spatial distribution, purposefulness of construction & purposefulness of ornament or decoration.

With what has been said so far, he is distinguishing buildings and structures by their decoration and ornament use, defying how the purpose of the building should relate to the ornament and decoration used. E.g. Grand decorations and structures would be used in a theatrical hall but would not be found on a war memorial; instead decoration would create an atmosphere.

Parametric patterns need to go beyond merely visual effects, they are to create atmospheres through artistic expression, reflect not only the nature of the building but become a functional part of the building itself.

John Frazers article “The Architectural Relevance of Cyberspace” highlights the effect of cyberspace rising in architecture. He sees the computer as a ‘evolutionary accelerant’ that is pushing architecture into a new realm where architects are able to explores theories and ideas with the ability to model environmental scenarios. He suggest that “the symbolic function of the new architecture is to make the invisible visible, not by monumentalisation and formation expression… but as an essential part of their function.”³

1.       R & R Oxman, ‘Parametric Patterns‘ in Theories of the Digital in Architecture, 2009, p.30

2.       R & R Oxman, ‘Parametric Patterns‘ in Theories of the Digital in Architecture, 2009, p.32

3.       M Carpo, ‘The Architectural Relevance of Cyberspace’ in The Digital Turn in Architecture 1992-2010, Wiley, New York, 2012, p.52

WK 9 Readings

Mario Carpos “The Digital Turn in Architecture” defines the term versioning, its effect on the upcoming architectural world as well as how we are proceeding with digital fabrication. The contributing authors state ‘versioning’ in diverse ways (with the “architectural definition of the term is to this day unclear”¹). It is a term, used to describe the way architects are using digital technologies across disciplines to broaden its effect. It may also be used to describe the shift in the way architects and designers are using technology to expand.

“As technology collapses traditional hierarchies, and promotes the transgression of disciplines, the barriers between architect and builder are being eroded.”² ‘Eroding the Barriers’ communicates digital fabrication machines and techniques, such as CNC milling, laser cutting and 3D printing, that are evolving the traditional perspective and thoughts, allowing for creative experimentation.

These technologies implement a developer-contractor knowledge base as well as inputs of trades in the design process. This early involvement of all parties thus allows for experimental design at a collaborative level, allowing for a “higher level of design to exist without increasing the cost of construction.”³

Frederic Migayrous, ‘The Order of the Non-Standard’ communicates a sense of ‘evolution’ or “mutation” within the architectural conception and production, which has been established by computational design methods and tools. His idea is essentially a method to challenge ‘standard’ architecture, in order to call for a ‘new normal or standard’ of non-standard architecture. 

1.       M Carpo, ‘Versioning’ in The Digital Turn in Architecture 1992-2010, Wiley, New York, 2012, p.131

2.       M Carpo, ‘Eroding the Barriers’ in The Digital Turn in Architecture 1992-2010, Wiley, New York, 2012, p.136

3.       M Carpo, ‘Eroding the Barriers’ in The Digital Turn in Architecture 1992-2010, Wiley, New York, 2012, p.145

Draft - Critical Analysis 300 Words

The chosen project is ‘MuscleBody’ by Kas Oosterhuis. The MuscleBody project implements real time computing through applications, which operate to an input-output latency of seconds, enabling response to stimuli within milli- or microseconds. The project also utilises programmable interactive architecture engaging in future-oriented research to interact between players and object. It responds to specific requests, reconfiguring itself in real-time based on the premise that interaction can take place only between two active parts, where one active part is the user and the other one is the building. With this technology, MuscleBody is able to alter its shape, degrees of transparency and the sound that it emits in real time via a computer programs calculations which sends corresponding instructions to the structure. Ultimately, MuscleBody is a dynamic hypersurface.

For the project to be dynamic, it must rely on technologies and programming. This can not only prove to be expensive but difficult in regards to implementation and aesthetics. Each component needs to be placed precisely for the movement in the project, for example, MuscleBody uses 26 festo muscles to contract and expand which are then concealed in the spiralling structure. The skin is composed of Lycra, allowing for a stretchable surface, meaning material choices are limited. Methods of concealing these technologies so that they don’t become eye sores may be challenging as they not only have to be accessible if something were to be replaced but must be aesthetically pleasing. For the project to exhibit real time behaviour, various motion and sound sensors must be implemented, code programmed and human interactivity to create the dynamics of this hypersurface. Lights and speakers add to the real time behaviour of MuscleBody, playing corresponding samples and displaying different colours in response to the behaviour of the ‘players’ within the project. 

WK 8 Readings

Antoine Picons “The Surface as Architecture” highlights key points relating to the changing identity of surfaces, their evolution and what they are becoming. “The most tangible part of any object, surface is also associated to visual and tactile sensations of pleasure and pain”¹ The growing importance of sensation is related how we perceive the surface, which has now become an aesthetic to the structure thanks to our digital technologies. We are able to perceive what was once impossible and not only understand but recreate the ornamental within the structure itself.

Surfaces have begun to challenge the traditional mode of presence in architecture, as well as some of the fundamental structures that have characterized the discipline. Hypersurface has done just this, it has introduced new elements and aspects into the surface, choosing to interact and involve the outside world to morph itself and alter into a new structure. The distinction between exterior and interior has been altered as surfaces do not define space by closing it, rather, they generate it as layers, allowing for infinite possibilities.

Stephen Perrellas “Topological Architecture and the Ambiguous Sign” discusses the work of Object (Cache, Beauce and Hammoudi) and how they utilise and develop techniques and software to aid the evolution of architecture through computer programming, reworking “the fundamental geometry of architecture: substituting the square, circle and triangle, with the frame, vector and inflection…”² With script generated models, production and complex geometries have become readily accessible offering vast flexibility in design. Essentially, it is ‘exact-modelling’ software that not only allows fluid forms but radical image-forms such as hypersurfaces.  

WK 7 Readings

Antoine Picons, “A Different Materiality, Material by Design” offers vast discussion in regards to the change and development of materiality, what exactly materiality is and finally the involvement of robotization. Picon talks of materials defined by two groups, organic and inorganic, where men saw both in the beginning as merely materials, no differentiation between the two nor a characteristic different between the two. “Today, we are probably returning to a conception closer to the pre-industrial one, with all the researches on composite and smart materials and the tendency to solve more and more problems at the level of material design rather than structural design.”

The development of digital conception tools and robotization has allowed for greater diversity from the use of CNC machines, 3D printers, laser cutters. Although these new tools and advancements in digital software has widened our scope of possible yet complex designs, we are faced with the limitations of packaging and shipping. “unique components require unique packaging and curved elements don’t stack as well as flat ones” this has become the current issue at hand, however, development of on-site prefabrication can overcome this problem yet it is far from being decided on whether that is the method to use.

“Architecture and the Virutal” also written by Picon continues his discussion of materiality but also establishes connections between physical experiences and technology. Digital design is still young, at this point of time it is merely “a supplementary power to the designer”, allowing processes to be executed faster as well as offer new design approaches. He relates the digital to physical experiences, highlighting faults and key elements that prove how digital design is still young.

WK 5 Readings

Thomas Hughes’ “Human-Built World: How to Think about Technology and Culture” examines how the evolution of technology has impacted and adapted the world around us as we know it. It is almost like a historical reminder of how far technology has advanced in the past hundred years, how society has welcomed these changes and just how far we have come as a whole.

Machine technology was being introduced in the nineteenth century to aid in the transformation of “industrial cities into handsome financial, commercial, and cultural metropolises.” Transportation within these cities grew as subways and underground networks emerged as well as tall city buildings. It was thanks to electricity that this adaptation of a new city was possible.

As cities grew and the population increased, housing became an issue. “Martin Wagner… used new technology… to help relieve the city’s dire housing problem… he designed and presided over the construction of housing settlements that brought workers out of dingy housing blocks into light, airy, and sunny apartments.”

Mumford feared that “the embedding of machine values in a culture threatened to eliminate an organic characteristic needed to sustain a healthy culture that nourishes the human spirit.” It’s interesting as even in this current century we now worry not necessarily about machinery taking over but technology. We push for greener and cleaner energy sources, to preserve nature and landscapes as well as be economically friendly to the environment. It seems to be a never ending cycle present with the development to machinery and technology. 

WK 4 Readings

Mario Caprio’s, “The Digital Turn in Architecture” explorers different fields relating to architectural design and theory. “Morphogenesis and Emergence” by Hensel, Menges & Weinstock explores and elaborates upon our evolving technology and how it has allowed morphogenesis to ‘evolve’. The development of technology now allows us to calculate structural behaviours and other various elements of a building which was previously impossible and could only be approximated with physical models. “All materials deform under stress, and such deformations can and often must be carefully calculated…” The properties of new materials are able to be tested in these structures, some aiming to be self-organising systems others with unique structural integrity by using techniques such as honeycombs. With digital modelling can now “theoretically emulate the skills, adaptivity and alert manipulation of expert artisan makers.”

Menges’ “Polymorphism” discusses the relation of natural morphogenesis to architecture. “Extending the concept of material system by embedding its material characteristics, geometric behaviour, manufacturing constraints and assembly logics allow for deriving and elaborating a design through the system’s intrinsic performative capacities.” This I found to be an interesting statement, as Menges tells us how the new era of technology is helping us change our perspective of design, allowing for more interesting and complex geometries that may not have been previously possible. Polymorphism is closely related to morphogenesis, sharing design techniques and technology such as honeycomb structures, allowing for extreme curves whilst maintaining strong structural integrity. “A design approach utilising such methods enables architects to define specific material systems through the combined logics of formation and materialisation.”

WK 3 Readings

Raymond Williams’, “Keywords: A Vocabulary of Culture and Society” raises interesting points and discussion about change within our society. In particular he speaks briefly of his past, where he had returned to Cambridge College from the war and within the four and a half years how much the society and atmosphere of the college had also changed, “the fact is, they just don’t speak the same language” (pg11).

The aim of his book was to generalise words from different disciplines that converge but aren’t linked, to create keywords which can be generalised and used by anyone to discuss or talk about something with intent of the recipient knowing what is being discussed. It does not intend to be a dictionary where a given meaning is set to each word or to create a glossary of words but to create a general ‘playing field’ for all to use. “It is, rather, the record of an inquiry into a vocabulary: a shared body of words and meanings in our most general discussions, in English, of the practices and institutions which we group as culture and society”.

Achim Menges’ “Computational Design Thinking” discusses the relation of computation to architecture. “So what is computation, then? In relation to design, computation is the processing of information and interactions between elements which constitute a specific environment, the pivotal word being interactions.” With that said, the aid of computation in architecture has led to many theories being further developed such as parametricism and morphogenesis. 

WK 2 Readings

Antoine Picon’s ‘Digital Culture in Architecture: an Introduction for the Design Profession‘ talks about the evolution and changes of technology and how it affects not only the process but the theory behind architecture. It is no longer about whether this digital incorporation is “good or bad for design but; it is rather about the direction architecture is taking under its influence”. Philippe Morel’s ‘Notes on Computational Architecture’ also discusses the ability to endlessly repeat experimentation in design till, essentially, perfection. Picon goes on to state that architecture and design are no longer limited to mathematical equations and algorithms, the birth of topological singularities, “blobs” and folded surfaces have risen and become increasingly popular than before.  Eisenman set out to use a computer as a “procedural modelling tool capable of drafting predefined figures at varying alignments and scales in endless sequences based on logical statements in code” This is what Morel talked about, the ability to unlimitedly reproduce virtual physical experiments which in turn, allows for accurate facts rather than predicting the outcome as it would be readily available. Picon further reiterates important technical inventions throughout history such as the electric tabulating machine and the telephone, and then continues on to the advance on computers through military use and cybernetics. Cybernetics in architecture leads to a new movement and well as rethinking of urban architecture with the incorporation of cybernetics. Picon talks of recent developments such as the internet and gaming consoles then ends with the role of architecture and its relationship with digital aid.