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Verfahren des Überschreitens. Entwerfen als Kulturtechnik
... Even where architects execute preliminary designs manually, they nonetheless go on to produce digital architectural models on this basis, engaging in an iterative and for the most part plural process of further development which allows a multiplicity of design decisions to occur (cf. Hauser 2013). Clearly, the computer has developed into a universal tool, one capable of combining most of the functions of the above-named work processes (Uhlig 2012). ...
Many of the sensory experiences of space, which were rather assigned to the realm of the visual, originate in other modes of perception and are integrated into the human understanding of its surroundings. Computer Aided Architectural Design tools meanwhile focus on a design work only under visual terms. With the help of Virtual Reality, among others, spatio-temporal and proprioceptive perceptual aspects can be integrated into these processes. This paper undertakes a rapprochement between visual arts, cultural theory, engineering and technology development. Design with all senses is here understood as an attempt to integrate embodied knowledge and bodily interaction into digital design applications for artists, architects and engineers.
... Even where architects execute preliminary designs manually, they nonetheless go on to produce digital architectural models on this basis, engaging in an iterative and for the most part plural process of further development which allows a multiplicity of design decisions to occur (cf. Hauser, 2013). Clearly, the computer has developed into a universal tool, one capable of combining most of the functions of the above-named work processes (Uhlig 2012). ...
Many of the sensory experiences of space, which were rather assigned to the realm of the visual , originate in other modes of perception and are integrated into the human understanding of its surroundings. Computer Aided Architectural Design tools meanwhile focus on a design work only under visual terms. With the help of Virtual Reality, among others, spatio-temporal and proprioceptive perceptual aspects can be integrated into these processes. This paper undertakes a rapprochement between visual arts, cultural theory, engineering and technology development. Design with all senses is here understood as an attempt to integrate embodied knowledge and bodily interaction into digital design applications for artists, architects and engineers.
With an interest in the dynamics of structure and decay, this experiment challenges prevalent logics of building preservation by developing a hybrid strategy between digital geometrical data and physical manipulation. It informs an intervention to an exemplary construction, with the intention of adding structural redundancy and thereby converging model and building. In this regard, the chapter discusses the results of several on-site workshops with partners from business and industry, conducted at and on a derelict brick barn in Brandenburg, Germany. It merges 3D scanning data with industry practices for foundation injections and an external tensile structure, exemplifying an extension of prevalent strategies on building and the built, of what is finished and what may be persistent. Overlaying the obtained point cloud with an ideal model construed upon evidence from observed detailing and constructional history, it approaches the multiplicity of forces that over time have acted upon the brickwork. A translation of this deviation, traditionally conceived of as material and structural failure on a path towards collapse, functions as a qualitative representation of global deflection and allows for quantitative assessments of prospective strategies for intervention.KeywordsPersistent Modeling Structural Preservation Common Practices Digital-Physical Systemic Brick Bond Behavior
The present paper intends to discuss the process of design and its peculiar location at the threshold between the unknown (the insecure place with unknown order) and already established, well-accepted knowledge. The process of design is known for its catalyzing possibilities, often suggesting connections between conceptions, ideas, and solutions to problems by linking an initial formulation with the innovative and upcoming development of a project within a given design context. Thus, the process of design has the power to provide a space for playing, where experiments of thought, the testing of conceptions, the assembling of elements of these conceptions, and the serendipitous conflation of different parts of ideas can take place. Charles S. Peirce's theory of inquiry-with especial emphasis on the systemic character of semiotics in relation to phaneroscopy, esthetics, the logic of abduction and pragmatism-informs the chosen theoretical framework of this paper. Because it also emphasizes the process of discovery, Peirce's theory of inquiry will be here mobilized to analyze, within the theory of the design process, the transition between critical predicament and an undecided-still to be formed-future. This task consists of stating in futuro the unthinkable in order to render any design project feasible.
The main objective of the present article is to inquiry into the specific, all-encompassing projective activity intrinsic to the process of design. I am considering the term design process as one describing a formative, purposeful, and creative set of handlings. This purposive projective action of design process can be said to be operative in several fields of knowledge and forms production, such as, for instance, in architecture, design, engineering sciences, and the arts, as well as spread out in a myriad of other fields. Special emphasis is given here to the general principles and evolution and growth within design process, which is characterized by its operation that draws upon – as well as devises forms from – principles, forms systems, and also establishes rules.
This paper explores digitally-based visualization techniques that were developed in architecture during the 1990s. The agency of digital tools problematized those more traditional themes of architectural history that had focused on the stasis of buildings by capturing the dynamic processes that afford architectural practice. By analyzing Greg Lynn’s Embryological House, I argue that digital modeling opened up the possibility of combining numerous software tools, leading to an individual design strategy. The visualizations encompassed drawings, animations, and physical models that were further extended through fabrication techniques. This led to encounters and interactions with other disciplines and knowledge practices. By basing the design process on the construction of a singular digital master model, however, Lynn initiated a discourse on the parameters determining the emergence of architecture. Yet in spite of this innovation, the challenge remains to assess the ways in which the programming of architecture’s parameters interact with the socio-economic fabric in which architecture participates.
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