Students will pursue the development of novel spatial repertoires, through the close relation of form and performance, as the outcome of forces, rather than solely from the wilful hand of the designer. In fact, the regime of planarity and linearity, along with their presumed association to the discourses of functionality and spatial reduction, had been facilitated throughout the latter nineteenth and twentieth century by the modern project of repetitive standardisation.
Curvature has an immediate relationship with the body and with the human hand. Traditional calligraphy, practiced in many diverse cultures worldwide, is imbued with affect, and is the outcome of gesture and emotion conflated in relative speeds and intensities. The ancients, it may reassure sceptics, were innately, yet less consciously and conspicuously, equally intrigued by curvature, as ubiquitous architectural culture remains so today.
Ornamentation is no longer a crime. Otherness is, today, sought out, just as difference is celebrated. We will engage with these troublesome legacies, with the persistence of ancient knowledge and, with commitment to experimenting with the design tools of the present. Calculus, the ancient study of geometric change through integration and differentiation, enters the toolbox of the contemporary design studio through computational software.
Here lies a fertile design research arena, which is indeed, still quite nascent. It is widely understood how mathematics forms the analytic and synthetic basis of structural engineering, which has for centuries, acknowledged how the flow of structural load often follows oblique and diagonal paths rather than orthogonal trajectories with perpendicular junctions of elements.
Gothic structures exemplify this kind of articulation of the flow of dead load. Transport and Civil engineering matierialise variations in infrastructural speeds, articulated through degrees of curvature. The Earth, it turns out, is not flat. Now I think that Form, properly so called, may be considered as a function or exponent of Growth or of Force, inherent or impressed; and that one of the steps to admiring it or understanding it must be a comprehension of the laws of formation and of the forces to be resisted; that all forms are thus either indicative of lines of energy, or pressure, or motion, variously impressed or resisted, and are therefore exquisitely abstract and precise.
Post a Comment. However, absorbed objects are suspended within in defiance of the properties of liquids. A meta-ball is defined by its relation to other objects for its structure, not the fixed organization evidenced by a sphere or cube. The inner volume of the meta-ball is a zone that allows connection to another meta-ball for the formation of a single surface.
This allows for the duplicitous nature of blob in regards to multiplicity and singularity. First, in the context of science-fiction horror films, where the blob takes on a form that is all surface and not flat or pictorial.
Finally, how the blobbiness is justified in contemporary construction techniques. Further defining the blobbiness as a gelatinous surface, having no regular shape.
Contemporary ideas of construction dictate that perpendicular loads and upright structures are the only way to construct real forms, but in reality, there are other methods of thought than the Cartesian method of gravity that would allow blob forms to be constructed in different ways. Instead of Cartesian volumes, topological surfaces could be organized to construct these forms. This kind of construction is still in very early stages of development, so blob construction is still highly criticized especially in regard to the roof condition.
Because no effective method has been developed to enclose buildings with a continuous surface that becomes a roof, traditional methods are still being used to top blob forms.
Currently, the most successful architectural explorations of this problem have been conducted by Shoei Yoh.
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