In a society that believes in exasperated ostentation, fashion photographer Guccione knows how to discover and see its beauty. His is not simple photography, on the contrary, it is so sophisticated in the balance of its elements that it seems to be a spontaneous event, a natural happening that takes place before the lens.
*** Featuring a foreword by Pritzker Prize Winner Shigeru Ban *** Bringing together experts from research and practice, Shell Structures for Architecture: Form Finding and Optimization presents contemporary design methods for shell and gridshell structures, covering form-finding and structural optimization techniques. It introduces architecture and engineering practitioners and students to structural shells and provides computational techniques to develop complex curved structural surfaces, in the form of mathematics, computer algorithms, and design case studies. • Part I introduces the topic of shells, tracing the ancient relationship between structural form and forces, the basics of shell behaviour, and the evolution of form-finding and structural optimization techniques. • Part II familiarizes the reader with form-finding techniques to explore expressive structural geometries, covering the force density method, thrust network analysis, dynamic relaxation and particle-spring systems. • Part III focuses on shell shape and topology optimization, and provides a deeper understanding of gradient-based methods and meta-heuristic techniques. • Part IV contains precedent studies of realised shells and gridshells describing their innovative design and construction methods.
Take a theoretical approach to architecture with The Autopoiesis of Architecture, which presents the topic as a discipline with its own unique logic. Architecture's conception of itself is addressed as well as its development within wider contemporary society. Author Patrik Schumacher offers innovative treatment that enriches architectural theory with a coordinated arsenal of concepts facilitating both detailed analysis and insightful comparisons with other domains, such as art, science and politics. He explores how the various modes of communication comprising architecture depend upon each other, combine, and form a unique subsystem of society that co-evolves with other important autopoietic subsystems like art, science, politics and the economy. The first of two volumes that together present a comprehensive account of architecture's autopoiesis, this book elaborates the theory of architecture?s autopoeisis in 8 parts, 50 sections and 200 chapters. Each of the 50 sections poses a thesis drawing a central message from the insights articulated within the respective section. The 200 chapters are gathering and sorting the accumulated intelligence of the discipline according to the new conceptual framework adopted, in order to catalyze and elaborate the new formulations and insights that are then encapsulated in the theses. However, while the theoretical work in the text of the chapters relies on the rigorous build up of a new theoretical language, the theses are written in ordinary language ? with the theoretical concepts placed in brackets. The full list of the 50 theses affords a convenient summary printed as appendix at the end of the book. The second volume completes the analysis of the discourse and further proposes a new agenda for contemporary architecture in response to the challenges and opportunities that confront architectural design within the context of current societal and technological developments.
The rise and fall of identical copies: digital technologies and form-making from mass customization to mass collaboration. Digital technologies have changed architecture—the way it is taught, practiced, managed, and regulated. But if the digital has created a “paradigm shift” for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies. Carpo highlights two examples of identicality crucial to the shaping of architectural modernity: in the fifteenth century, Leon Battista Alberti's invention of architectural design, according to which a building is an identical copy of the architect's design; and, in the nineteenth and twentieth centuries, the mass production of identical copies from mechanical master models, matrixes, imprints, or molds. The modern power of the identical, Carpo argues, came to an end with the rise of digital technologies. Everything digital is variable. In architecture, this means the end of notational limitations, of mechanical standardization, and of the Albertian, authorial way of building by design. Charting the rise and fall of the paradigm of identicality, Carpo compares new forms of postindustrial digital craftsmanship to hand-making and the cultures and technologies of variations that existed before the coming of machine-made, identical copies. Carpo reviews the unfolding of digitally based design and construction from the early 1990s to the present, and suggests a new agenda for architecture in an age of variable objects and of generic and participatory authorship.
Lara Schrijver examines the work of Oswald Mathias Ungers and Rem Koolhaas as intellectual legacy of the 1970s for architecture today. Particularly in the United States, this period focused on the autonomy of architecture as a correction to the social orientation of the 1960s. Yet, these two architects pioneered a more situated autonomy, initiating an intellectual discourse on architecture that was inherently design-based. Their work provides room for interpreting social conditions and disciplinary formal developments, thus constructing a `plausible' relationship between the two that allows the life within to flourish and adapt. In doing so, they provide a foundation for recalibrating architecture today.
The exhibition and publication constitute the first phase of a multiyear research project launched by the CCA to investigate the incorporation of digital technologies in the field of architecture.
"The documentation on the design and execution work of the Mannheim Hall was prepared at the IL, directed by Frei Otto, in close cooperation with the architects, Mutschler & Partners, Mannheim, and the engineers, Ove Arup & Partners, London. This publication is, at the same time, a report on the sub-project "Experience gained by buildings" of the Sonderforschungsbereich 64 "Wide-Span Lightweight Structures" of the Deutsche Forschungsgemeinschaft."
