Artist’s Essay: Post-digital Neo-Baroque: Reinterpreting Baroque Reality and Beauty in Contemporary Architectural Design

The Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip

Iron age decorative metalwork in southern Africa: an archival study

This thesis addresses continuity and change in the manufacture and use of decorative metalwork in the Iron Age (200-1900 AD) of southern Africa, within a framework of archival studies and artefact studies theory. The thesis adopted a direct historical approach which exploited the huge database of existing information to create typologies of objects and processing techniques that are prominent in ethno-historical sources of the 19th and 20th centuries. This process enabled for the first time, a comprehensive mapping of object typologies and techniques of manufacture by ethnic groups thereby allowing cross cultural comparisons. Subsequently, the study explored the typology of objects utilized further back in the time of the Early Iron Age using archaeological evidence. It demonstrated that most of the objects used in the Iron Age were similar to those that were used in the 19th century. However, new innovations were made along the way with metals and alloys being constantly added to the range of materials worked. A dedicated visual study of fabrication techniques employed in the manufacture of ethnographic materials housed at Iziko Museum of Cape Town was carried out. The techniques gleaned from the macroscopic study were compared with those metallographically documented in the literature for the manufacture of Iron Age objects, further exposing continuity and change in metal fabrication. The social, economic and political role of decorative metalwork was hardly static, and varied from context to context and group to group

A Technical Study and Conservation Proposal for the Glass Mosaic Decoration of Villa Caparra in Guaynabo, Puerto Rico

This thesis examines the exuberant cement-embedded glass mosaic ornamentation of Villa Caparra, an early architect’s residence in Guaynabo, Puerto Rico in order to document the materials, methods of fabrication and installation; and, to analyze the present condition. The study will rely on archival records, in situ investigation, material analysis and physical testing with the purpose of developing a preliminary conservation plan for remedial and long term preservation

Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good

Computation and technology as expressive elements of fashion

Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 2000.Includes bibliographical references (91-92).This thesis explores technology and computation as elements of fashion. Far beyond the definition of clothing as a necessary protective covering, fashion exists as a way for people to express themselves to others, to reflect portions of their personality in their outward appearance, and to distinguish themselves as individuals. How can technology enhance these expressive aspects of what we wear? The goal of my research is to create examples of new types of clothing based on computation, which provide modes of expression unachievable with traditional garment techniques. In this thesis, I define an area of design and research which is a synthesis of technology, computation, and fashion. I explore the constituent properties (axes) of the design space through research experiments, and present basic software and hardware architectures on which to build relevant examples of computational fashion.by Elise Dee Co.S.M

TECHNE Issue 06

INTRODUCTION Sanjive Vaidya, RA, Department chair “Midnight on Feb. 5, 1952, a cross was burned in front of Stoughton Hall, where the 11 black members of the Harvard Class of 1955 lived… One of the 11 black students was the late J. Max Bond ’55, who became one the nation’s leading black architects, stressing socially progressive themes and public service.” -Hartman, Chester. “Cross burning in Harvard Yard?” The Harvard Crimson, 17 Sept 2014. Symbolizing structural and social barriers for minorities and people of color accessing higher education, this violent scene is heightened by its setting. The venerated campus represents a pinnacle of logic and reason. Faculty openly discouraged Max Bond from pursuing architecture because of the color of his skin. His experience at Harvard is alarming, but familiar. The barriers are now less overt, but remain economically polarizing and dispiriting. By completing his degree, Max Bond demonstrated the steel resolve and calm demeanor that propelled him to prominence while using his power to help others do the same. He advanced ideas on the intersection between architecture, public service and the pivotal role of public education. Access to higher education is fundamental to the discourse on equity and advancement. The American Institute of Architects (AIA) 2016 report on Diversity in the Profession of Architecture enumerates barriers to the pursuit of an architectural education. Beyond the high cost of architectural programs is the lack of role models of color. First and secondgeneration students choose more lucrative careers. Architect’s salaries are notoriously low. Underscoring this is a lack of awareness about the scope of architecture. The New York Building Congress forecast $56.4 billion of construction spending on the city in 2020. This is spread over many components of development and reconstruction. It points to the expanding use of digital design technologies, advanced materials and performance analytics to manage the increasing complexity of building in the city. Efforts to ensure that design and planning are aligned with resource conservation and energy management increase construction costs. Graduates from the Department of Architectural Technology often engage non-traditional design practices such as: digital fabrication and representation, preservation technologies, building performance analytics and project management. The newly reconfigured fouryear BTech curriculum harnesses their interests and talents. It is a strategy to bring students closer to the drivers of construction spending, accessing employment opportunities with sustainable compensation. Capitalizing on this robust technical curriculum, the new five-year BArch program provides a high quality, affordable professional degree pathway for students pursuing a role in the practice of building design and construction. While both degrees offer students an opportunity to pursue licensure, the BArch degree accelerates the timeline. It promises to be an industry disrupter, offering agency to a demographic frequently underserved and unrecognized for their leadership potential. The courage and tenacity of these students to overcome significant economic and social barriers is evidence of their ability to succeed. Educating the quantity and diversity of architectural students, City Tech is situated to play an important role in the revitalization and public well-being of New York City. It remains a reliable ally and positive catalyst for the disadvantaged and underrepresented. The process of design thinking coupled with personal experience of the city’s deficiencies, make these students important contributors to discussions on infrastructure, disaster preparation and climate change. They can become effective advocates for their communities with firsthand experience of inadequate public accommodations for the aging and dying, support for the mentally ill and disabled, housing for the homeless and the formerly incarcerated. Their education is an act of self-defense. It is a defiant assertion of belonging, and pride in diversity. An effective design education links aesthetics with science, policy and human need. Vitruvian principles for the twenty-first century. Table of contents INTRODUCTION EDITORS 3 TABLE OF CONTENTS 4 MESSAGE FROM THE CHAIR SANJIVE VAIDYA 7 FACULTY WORK 8 EXPLORATION OF LIGHT THROUGH VIRTUAL REALITY ESTEBAN BEITA 11 FROM TANGIBILITY TO COMPLEXITY JIHUN KIM 19 COLLECTIVE COMPLEXION JIHUN KIM 27 INTERVIEW FREDERIC LEVRAT 39 COMMERCIAL TOWER AND FACADE DESIGN KATHERINE BUCHELLI 42 EDUCATION, DESIGN AND PRACTICE JASON A. MONTGOMERY 45 DESIGN 8 NET ZERO COMMERCIAL TOWER FACADE STUDIO JOHN NEARY / VICTORIA ERESKINA 55 MIXED REALITY IN FACADE EDUCATION PHILLIP ANZALONE 65 STRUCTURE FOR ARCHITECTS RAMSEY DABBY / ASHWANI BEDI 74 EXPRESSING ENERGY ROB ROTHBLATT 79 STUDENT WORK 87 BROOKLYN HEIGHTS PUBLIC LIBRARY ARCH DESIGN STUDIO 3 ABRIL RODRIGUEZ 89 BROOKLYN STACK HOUSES ARCH DESIGN STUDIO 5 ALBERT W. VARGAS 91 BROOKLYN URBAN VILLAGE PARK ARCH DESIGN STUDIO 5 FARAI MATANGIRA 93 SKYWALK ESPLANADE ARCH DESIGN STUDIO 7 JOSHUA CANDO 95 THE ANELIDA ARCH DESIGN STUDIO 6 JULIA PROKOP 97 NEW GOWANUS HOSTEL + FISH % OYSTER FARM ARCH DESIGN STUDIO 5 OLIVER HADI 99 COMMUNITY HOUSING DEVELOPMENT ARCH DESIGN STUDIO 6 OLOLADE T. OWOLABI 101 NYC HOUSING AUTHORITY: AVENUE ARCH DESIGN STUDIO 6 PAMELA LOPEZ 103 HOUSING PROJECT ARCH DESIGN STUDIO 6 RAFIA AMIN 105 NYCHA HOUSING PROJECT ARCH DESIGN STUDIO 6 TASFIA AMIR 107 GOWANUS CANAL HOSTEL ARCH DESIGN STUDIO 5 TIFFANY ZHANG 109 STUDENT WRITING: PRINCIPLES & THEORIES OF ARCHITECTURE 111 ARCHITECTURE CLUB 13

Atlas of sensations - on sensibilities in a computational design practice

The driving force behind the body of work of SPAN is defined by the application of advanced computational design methodologies. This dissertation can be understood as a cartography (in the best tradition of an atlas) of the work of the practice from its founding year 2003 until 2017 - a period profoundly shaped by the progress made in technological advances. These technological means allow SPAN to discuss architectural project through a series of different lenses such as conceptualization, planning, fabrication to the maintenance of the designed objects, through the use of emerging technical opportunities wither this be the interrogation of novel geometries (Blocks, Ore, Barcelona Recursion), computational methods of rationalization (Expo Façade) or advanced methods of fabrication (Robots, as for example in Plato's Columns). In a parallel move between the necessities and desires of the practice and the ambitious studios and seminars in academia, novel toolsets and design concepts are developed to address contemporary architectural problems. These areas can be understood as different territories of interrogation, forming a landscape of opportunities, or as we describe it internally in our office: a design ecology. The interrogation of these distinct territories, and the unique way in which SPAN assembles those various elements to something larger than its parts, is what constitutes part of SPAN's contribution to the discipline. Apart from projects and visual work, SPAN´s contribution to discourse started early with papers to conferences such as IASS (International Association for Shell and Spatial Structures) in 2007, Design Modeling Symposium in 2008, and ACADIA (Association for Computer Aided Design in Architecture) in 2008, which included ideas such as the application of tissue engineering in architecture, aspects of artifact and affect, fabrication, and considerations on architectural details in complex curved geometries. Within the Atlas of Sensations, a second ecology is defined by the contribution to the paradigm shift in the discourse from the continuous to the hyper-articulated surface, which contains an additional level of information. A surface, which describes architectural properties through the deep pochés, folds, joints, niches, and arches it generates.  The question is: How does this shift in the conception of architecture affect the qualities of the design, and by extension the context these objects construct? To further investigate this question the work focuses on one part of the practice's design ecology: design sensibilities. In order to interrogate this question, the presented work observes these moments in SPAN's practice through the lens of geometrical properties. Ultimately resulting in thoughts on Postdigital design ecologies that discuss aspects of design agency in our contemporary age

KINE[SIS]TEM'17 From Nature to Architectural Matter

Kine[SiS]tem – From Kinesis + System. Kinesis is a non-linear movement or activity of an organism in response to a stimulus. A system is a set of interacting and interdependent agents forming a complex whole, delineated by its spatial and temporal boundaries, influenced by its environment. How can architectural systems moderate the external environment to enhance comfort conditions in a simple, sustainable and smart way? This is the starting question for the Kine[SiS]tem’17 – From Nature to Architectural Matter International Conference. For decades, architectural design was developed despite (and not with) the climate, based on mechanical heating and cooling. Today, the argument for net zero energy buildings needs very effective strategies to reduce energy requirements. The challenge ahead requires design processes that are built upon consolidated knowledge, make use of advanced technologies and are inspired by nature. These design processes should lead to responsive smart systems that deliver the best performance in each specific design scenario. To control solar radiation is one key factor in low-energy thermal comfort. Computational-controlled sensor-based kinetic surfaces are one of the possible answers to control solar energy in an effective way, within the scope of contradictory objectives throughout the year.FC

FROM ECONOMY TO EXCLUSIVITY: A HISTORY OF THE DEVORE TEXTILE 1880 TO 1940.

This thesis creates a contextual historical analysis of the development of chemical and devore manufactured textiles, relating methods of construction and intended use to existing textile design and social histories. The initial investigation of devore practice, whether used in association with woven, knitted and stitched textiles, includes a comprehensive examination of the historical textile patent record from 1840 to 1940, which formed an extensive part of the historiography. The aim of the research was to establish a credible narrative of woven devore, through its design and its manufacture. The methodology is interdisciplinary. In the course of my research and material evaluation I have considered evidence that is normally considered to be chemical and fibre analysis, design and art history review, dress textile and interior textile analysis, social and economic history and object analysis. This study in particular focuses on the peculiar dichotomy of woven devore: that is its growth as a manufacturing method of affordable textiles for the mass market contrasted with its most common deployment, as an ornate decorative textile. This study also challenges the conventional view that the aforementioned decorative woven devore textiles were developed in response to periods of economic depression

Process Bifurcation and the Digital Chain in Architecture

This thesis investigates the impact of digital technology on the methods of design and production in architecture. Through research of history, theory, technology, and methods, the work determines whether the current use of new technologies should be considered as iterative development of the architectural practice, or as a radically new paradigm. The computer has now matured into the primary working medium for architectural design. Digital tools are increasingly expanding their role, from design and visualization, to use in empirical simulation and evaluation, digital fabrication, and in on-site construction validation. This combination of linked tools, into a single project-wide solution system is called the "digital chain". This procedure is a significant opportunity for optimization of process, but it can also be seen as a catalyst to reinforce creative collaboration between disparate professionals in a design team. Because of this change to both methods and relationships the digital chain, and its components are understood to be disruptive technologies. The digital chain has caused a bifurcation in architectural productivity, because of this disruption many theorists and critics claim that digital technologies now define a new era of architecture. This thesis seeks to understand if this inflection can also be considered a new paradigm. The contemporary computer, as an "information machine" is characterized by three specific capabilities: control, prediction, and processing. Research and project work to examine the digital chain have been undertaken and categorized using these three investigation channels. Each topic for investigation has been instigated with a pedagogic work. Thereafter, additional "proof of concept" projects have been undertaken to advance the work to the professional level. The results and findings occur at two levels: Practical production of architecture, but also as conclusion about "digital learning" and the scope of technological adoption within the architectural profession. The conclusions of the thesis state that a technologically induced paradigm-shift in architecture has not occurred. The current implementation of digital tools still only qualifies as iterative innovation of traditional methods. The technology and use of digital tools in architecture has developed significantly in the last decade. Emerging technologies, new methods, and the prognosis for future developments will have significant effect on architectural design and production. Because architecture has a well established precedent of "re-purposing" technology from other disciplines, the thesis concludes that there is strong potential that a paradigm-shift may yet happen. By examining emerging innovations from other industries it is possible to make highly informed predictions about incoming innovations in materials, production methods, and conceptual systems. This insight into the next wave of potential catalytic influences is presented in the discussion, and it is concluded that a broader range of new innovations may yet invoke a technologically driven paradigm-shift in architecture