ARCHITECTURAL DESIGN最新文献

Virtual technologies, such as AI and parametric protocols, can mash-up infinite architectural forms in infinite configurations. Perhaps it is beneficial for students to concentrate on the real world for a while. Architectural educator Caleb White teaches at the Weitzman School of Design at the University of Pennsylvania and the Rensselaer Polytechnic Institute School of Architecture, where he guides students to examine machines, their vectors, geometries and components, as a means to re-engage the physicality of reality. Here, he explains his architectural agenda and shows some of the fruits of his students’ labours.

The relationship between machines and architectural inspiration has changed over the years as technology has become more and more virtual. The machine allegory has therefore edged towards invisibility, pervasively penetrated the integrity of the body, and manipulated matter atom by atom. Architect, artist and academic Peter J Baldwin explains architecture's machinic infatuations, their histories and their exponential acceleration in a time of emerging singularity and technological convergence.

The use of machine analogies and allegories can help students liberate themselves from the tried and tested normative dogmas and doctrines propagated by architectural education. Daniel K Brown, Professor of Architecture at Victoria University of Wellington, New Zealand, and co-guest-editor of this AD, runs an extraordinary student design studio that has much success in conceptually intertwining machine aesthetics with history, culture and international literary narratives. Here he explains his modus operandi.

The surface of an architectural drawing can be a cauldron of creativity, a place where even gravity and friction might not exist. Russian-born and based in Paris, architecturally trained artist Kirill Chelushkin creates astounding, often large-scale works that explore the ontology of drawing. Here he describes the inspirations for his machine-related architectural representations, including Russian Constructivism and historical, battered and burnt blueprint drawings of the rapidly disappearing machines of the Soviet industrial complex.

Generally, the machine is characterised as masculine. Would it be possible to represent machines that are much more feminine in nature, that cosset humanity, encourage social interaction, and are not blind to our emotional lives, loves and heartaches? Chair of Architecture and Design at Western Sydney University and co-guest-editor of this AD, Michael Chapman explains some of his recent surreal architectural drawings that explore these notions.

When thinking about contemporary machinic architecture, often one imagines the sort of buildings that might be described as high-tech: full of ductwork, hydraulic struts, pistons, and sleek, metallic, shiny carapaces. Yet there are other ways to invoke the machine in more human-friendly manifestations. Tom Kundig and his design practice Olson Kundig have spent much of their time exploring age-old technologies – the hinge, the wheel and the pulley, for example – to create architecture that does not alienate people, but instead engages and facilitates them in transformational, spatial activities.

Argentinian architect Adolfo Luis Moure Strangis has a passion for designing machine-like, labyrinthine spatial constructions. His work can be seen as architecturally analogous to Argentinian author Jorge Luis Borges's famed literary experiments. Architect and academic Bea Martin uses some of Borges's iconic texts to interrogate Moure Strangis's architectural and narrative intentions – bringing layers of meaning, time and multiple pathways to the featured works. Throughout it all, the spectre of the machine is always present.

In a world where the speed of architectural production is much accelerated, and the specificity of its representations requires a lack of ambiguity, the power and force of the hand-drawing is still, to a few, a proving ground for testing interstitial ideas situated at the threshold of art and architecture. New York-based Professor at the Pratt Institute School of Architecture and co-founder of Atelier ZZiggurat, Giuliano Fiorenzoli reflects on some of his key projects, ideas and drawings – their dynamic constitutions and their symbiotic relationship with landscape/site and architecture.