Representation and creation of interwoven architectures. Application in the teaching of geometry

[EN] The article highlights the value of interwoven architectures by showing the direct relationship between creation and architectural graphic representation. The difficulty of representing weaves or wefts, applied to the shape, had limited their geometric evolution until the arrival of the digital era. The possibilities offered by modeling software applications are making it possible to overcome this handicap, and it can be seen how certain renowned architects are rediscovering new shapes in this type of architecture. These software applications allow architecture students to go from generating to printing attractive geometric shapes in 3D with ease, meaning that some skills suffer. That is why a teaching experience is developed that goes deeper into the representation and creation of interwoven artifacts. Traditional skills and abilities are worked on, with the support of new technologies, allowing students to increase their abilities associated with drawing and with the ideationcreation of architecture with their own hands.[ES] El artículo pone en valor las arquitecturas entretejidas mostrando la relación directa entre la confección y la representación gráfica arquitectónica. La dificultad de representación de los tejidos o tramas aplicadas a la forma, han limitado su evolución geométrica hasta la llegada de la era digital. Las posibilidades que ofrecen los softwares de modelado están permitiendo solventar dicho hándicap y se puede apreciar como ciertos arquitectos de renombre están pudiendo redescubrir nuevas formas en este tipo de arquitecturas. Estos softwares permiten al alumnado en arquitectura pasar de generar a imprimir en 3D formas geométricas atractivas con facilidad y esto hace que algunas competencias se resientan. Es por ello que se desarrolla una experiencia docente profundizando en la representación y confección de entretejidos. Se trabajan competencias y habilidades tradicionales apoyadas en nuevas tecnologías, permitiendo al alumnado aumentar las capacidades vinculadas al dibujo y a la ideación-confección de arquitecturas con sus propias manos. Casado Rezola, A. (2021). Representación y confección de arquitecturas entretejidas. Aplicación en la enseñanza de geometría. EGA Expresión Gráfica Arquitectónica. 26(43):194-207. https://doi.org/10.4995/ega.2021.15372OJS1942072643ÁLVARO, A., GALVÁN, N., ALONSO, M. (2016) Hacia una nueva geometría descriptiva. Un Proyecto de Innovación Docente para la carrera de Arquitectura. XVI Congreso Internacional de Expresión Gráfica Arquitectónica, Alcalá de Henares (Madrid).CISNEROS, J. y CABEZOS, P. (2016) La enseñanza de la Geometría Descriptiva en la era digital. XVI Congreso Internacional de Expresión Gráfica Arquitectónica. Alcalá de Henares (Madrid).PALLASMAA, J., 2020. Animales arquitectos. Gustavo Gili, Barcelona.CAMPO BAEZA, A., 2009. De la cueva a la cabaña. Pensar con las manos. Nobuko.PALLASMAA, J., 2012. La mano que piensa. Gustavo Gili, Barcelona.TELLERÍA, I., GONZÁLEZ, N., SUSPERREGI, J. (2020) La teoría de E. Mössel en la base del trazado que regula un modelo de caserío guipuzcoano del siglo XV. Parte I. Revista EGA, [S.l.], v. 25, n. 38, p. 90-101. https://doi.org/10.4995/ega.2020.12365GONZÁLEZ, P. (2016) Adaptación de superficies de doble curvatura mediante superficies desarrollables. Revista EGA, [S.l.], v. 21, n. 27, p. 210-219. https://doi.org/10.4995/ega.2016.4741LEÓN, I. y PÉREZ, J. (2018) Docencia colaborativa en BIM. Desde la tradición y dirigida por la expresión gráfica arquitectónica. Revista EGA, [S.l.], v. 23, n. 32, p. 76-87, mar. 2018. https://doi.org/10.4995/ega.2018.9077MIREVA, V. (2017). Shigeru Ban's architec ture in the context of traditional craft techniques

Isotopic tiling theory for hyperbolic surfaces

In this paper, we develop the mathematical tools needed to explore isotopy classes of tilings on hyperbolic surfaces of finite genus, possibly nonorientable, with boundary, and punctured. More specifically, we generalize results on Delaney-Dress combinatorial tiling theory using an extension of mapping class groups to orbifolds, in turn using this to study tilings of covering spaces of orbifolds. Moreover, we study finite subgroups of these mapping class groups. Our results can be used to extend the Delaney-Dress combinatorial encoding of a tiling to yield a finite symbol encoding the complexity of an isotopy class of tilings. The results of this paper provide the basis for a complete and unambiguous enumeration of isotopically distinct tilings of hyperbolic surfaces

‘Out of the blue foam’. MVRDV’s Didden Village as a full-scale model

For almost two decades MVRDV (Winy Maas, Jacob van Rijs, Nathalie de Vries) of Rotterdam is known for the provocative, ludic and imaginative tone of its architectural proposals and a symbolic and experimental use of color often becomes the hallmark that integrates architectures made of elementary volumes. One example is the Didden Village, an extension of a traditional row house of late nineteenth century by the superposition of two elementary volumes widely used for the game of the couple's children: two boxes in concrete with a pitched roof. The designers describe it as a "crown on top of the monument", where the crown is the new building and the monument is the building below. As a vernacular element out of its context, the Village comes obviously in contrast with the modernist buildings around it, but the choice of painting it entirely of blue declines further this contrast in color and texture terms with neighbors brick-and-stone coatings. The meticulously monochrome solution, combined with an almost sculptural definition of volumes which are practically free of architectural details, gives unity to all the parts of the micro-village and enhances the effects of sunlight. But the choice of blue, complementary to the warm red chosen for the interior, hides other objectives that can only partially reduced to mimetic issues in order to virtually disappear against the sky (a phenomenon that might be rare given the latitude). Used without interruption, the blue transforms external volumes into something suspended between an out-of-scale design object and a Pop Art installation, not far from Oldenburg & Van Bruggen’s "ordinary objects depicted in monumental scale". The blue, or rather the cyan, appears rather a color chosen for its manifest artificiality in the urban landscape. As a possible prototype for a new type of expansion of the historic towns, the building is designed and built like a model, like one of those rough maquette in blue foam — the material so beloved by the Dutch designers — at full scale, in order to stage a sort of fanciful architectural representation in the middle of gray Dutch city

Liminalities Atlas

The Liminalities Atlas shares the work of the wonderful students who have collaborated with us on an exploration of liminalities over the past few years. We have had the pleasure of working with our University of Universities (UoU) community through a sequence of workshops, as well as with MA students at our home institutions, the University of Brighton (UoB) and the Bergen School of Architecture (BAS). The pages that follow share the questions asked and the speculative proposals offered

From map to mapping: imaging active landscapes through 'figure' and 'ground'

The research builds on and contributes to the representation in landscape, specifically the imaging of active landscapes. Current representational methodologies in landscape architecture have already defined various regimes for the mapping of landscapes. Most of these operate by portraying existing conditions that prioritize visual and formal qualities, displacing objects from their wider context and creating neutral artificialities. Although the discourse of representation has already emphasized the need for appropriate methodologies that engage more closely with the landscape, there has not been an examination and production of techniques that not only privilege the object but also encourage the imaginative conception of experiential phenomena unfolding over time. A convention such as the figure-ground plan is an idealized and dominant technique that expresses an existing cond ition, without references to evolution or change. This research provides additional insight into the depiction of events that develop over time by reconceptualising "figure" and "ground" as mutualistic entities rather than hierarchical and biased conditions. It demonstrates that figure and ground are but interdependent and coordinated concepts by depicting them in patterns with variant scales, colours and textures. These shift landscape representation from appearance to composition, from description to narration, forming chains of information that lack regularity and stability, and which inform the deviating course of phenomena in the landscape. The analytic focus on mapping enables various contributions: firstly it allows imaging the incessant construction of landscape rather than its portrayal as an empty, dead event. The communicated perception of a changing landscape permits a more inclusive appreciation of its development and staging: understanding how things work aids in developing ways to choreograph what they may become. Secondly, the maps outcomes not only depict or represent images, but facilitate a visualization of the performative qualities of landscape elements - their processes, events, affective phenomena, etc. This means that the viewer is not only an external observer but is able to participate in a shared experience of apprehending a given landscape. This method of communication uses various scales and colours to manipulate perception and give multiple meanings depending on an experiential engagement with the representation. The work evaluates the participation of representation in design by using real experimental cases from three international design competitions. The importance of the research relies not only in mapping outcomes, but in its inquisitive production that reconceptualises "figure" and "ground". The figure-ground map provides a laboratory for graphic experimentation by developing series of patterns and moirés that addressed temporal phenomena and irregularities in landscape systems. The research project does not aim to simply produce experimental graphic compositions, but to use figure-ground mechanisms to structure processes and phenomena. This approach unveils the potential of institutionalized representation techniques and exposes their ability in facilitating visualization of active landscapes

The Mothering Thicket: Investigating the Impact of Transgenerational Trauma through Installation Based Print Practice.

The Mothering Thicket is a theoretical and practical investigation which explores the complexities of mothering, acknowledging the effects of trans-generational trauma through the process of art practice. It creates space for conversations and maybe transformation through the healing rituals of narrative and art production. It looks at the varied work of other artists—some of whom are mothers, all of whom have been subject to experiences of stress or anxiety. They included Australian artists; Sally Smart, and Izabela Pluta. Irish artist, Mary Kelly. Canadian Artist, Jennifer Linton, French/American artist, Louise Bourgeois and German Expressionist, Käthe Kollwitz. I have also collaborated with my adult child, dancer, Lorcan Power, as well as sound artist, Dylan Marélic-Mcintyre and cinematographer, Darwin Schultz. My own art practice drew on analysis and research to provide insight into affective art, aspects of mothering and familial attachment. Research was influenced by early feminist writers; Julia Kristeva and Adrienne Rich and by contemporary thinkers; Gail Weiss, Nicole Moulding, and Margrit Shildrick, psychologists; Donald Winnicott, Jacob B. Priest and psychiatrist, Gerrit Glas. I argue that the suppression of knowledge surrounding trans-generational trauma’s effects on mothering greatly impacts on societal expectations of mothering – presenting a gap in contemporary fine art for more challenging and complex depictions of difficult mothering. My experience of raising a child with mental health issues, having also been a child exposed to trauma, had given me a direct personal perspective of ‘motherblame’ and other negative constructions of mothering. This has revealed the need for a space where narratives of complex experiences of mothering can be contemplated without judgement; where mother, child and audience can feel safe, secure, seen, and supported to experience an art installation about mothering trauma. In my artwork, I applied principles of attachment theory to generate a safer environment where people felt supported and secure enough to contemplate memories of stress encounters, utilising my artwork to express the various narratives of traumatic experiences of mothering. Although art cannot resolve all mothering wounds it can provide a space, in the middle of the thicket, for the beginning of a conversation, or at least encourage a start to confronting all mothering experiences

Industrial product design by using two-dimensional material in the context of origamic structure and integrity

Thesis (Master)--Izmir Institute of Technology, Izmir, 2004Includes bibliographical references (leaves: 115)Text in English; Abstract: Turkish and English.xiii, 118 leavesThroughout the history of industrial product design, there have always been attempts to shape everyday objects from a single piece of semi-finished industrial materials such as plywood, sheet metal, plastic sheet and paper-based sheet. One of the ways to form these two-dimensional materials into three-dimensional products is bending following cutting. Similar concepts of this spatial transformation are encountered in the origami form, which has a planar surface in unfolded state, then transforms to a three-dimensional state by folding or by folding following cutting. If so, conceptually it may be useful to think of one-axis bending, which is a manufacturing technique, is somewhat similar to folding paper.In this regard, the studies in the scope of computational origami, which light the way for real-world problems such as how sheets of material will behave under stress, have applications especially in .manufacturing phase. of industrial product design.Besides manufacturing phase, origami design is also used as a product design tool either in .concept creating phase. (in the context of its concepts) or in 'form creating phase' (in the context of its design principles).In this thesis, the designing of industrial products, which are made from sheet material, is presented in a framework that considers the origami design. In the theoretical framework, evolutionary progression of origami design is discussed briefly in order to comprehend the situation of origami design in distinct application fields.Moreover, the elements, principles, basics of origami design and origamic structures are generally introduced. The theoretical framework is completed with the descriptions of the concepts on origami design and origamic structures. In the practical framework, typical applications that have origamic structures in distinct industrial product fields are exemplified. Furthermore, sheet materials and their bending process are taken up separately. By means of its excessive advantages, sheet metal bending is particularly emphasized. The practical framework is completed with several case studies base on sheet metal bending. Finally, the study is concluded with the evaluation of the origamic-structured product in respect of good design principles. Furthermore, designing by considering origami design is recommended to designer to design a good industrial product