Elastic Architecture Introduction Design Research The Non-building Architect (2024)

Warehouse Journal 25 (2016), 2016

The following essay sketches varieties of imagination operative in the best architectural work. It was published in Warehouse Journal, a student-edited journal produced annually by the Faculty of Architecture, University of Manitoba. Student editors for Warehouse 25 were, Alena Rieger and Ally Pereira-Edwards.

The International Journal of Architectonic, Spatial, and Environmental Design, 2018

A vital component to any architect’s education is learning how to effectively utilize building materials as carriers of architectural meaning; the development of a coherent tectonic language is fundamental to teaching architecture. This requires a careful understanding of the most basic components of architecture, its language, its words. The words are composed of materials, the sentences written in a building’s tectonics and detailing. Learning how to speak is the first step towards writing poetry. Learning the building art’s material language is the first step to creating architecture.Many academics and practitioners who are attracted to design build share a common belief that the materials and methods of construction matter, and are essential to an architect’s education. Latent in this line of inquiry is that if these elements are significant, that significance should be made manifest in the final, constructed reality of the building. This conception runs strongly counter to the direction of most contemporary architecture, in which seamlessness, weightlessness, and the suppression of materiality are ascendant. With these ideas in mind, how should an architect be trained? This paper will explore one method, using design build pedagogy to engage architecture students in a patient search for their own tectonic philosophy.

Resignation of the classical canons of aesthetics caused that art and thereby architecture follow the new rules. Independently of the different existing trends in art, two mainstreams are featured clearly: the organic and the geometrical. It is the reason why architecture oscillates between both of the influences. Because of those influences, abstract art found its interpretation in the architectural form. It is also worth emphasing the important role of expressionism against the background of changeable architecture.

By applying the methods of categorisation, comparison and analysis of written sources, this article aims to reveal how Surrealist artistic ideas may have influenced – through the intermediary of the Postmodern movement – architectural trends up to the present time. The paper is organized into three parts, each dedicated to one of the most important Surrealist architectural concepts: the synthesis of the arts, fluidity, and formalistic superficiality and spontaneity. Each section describes how these ideas were underlined in Surrealist art and theoretical texts, compares them to some examples of Postmodern and contemporary architecture, and explains how these ideas were nurtured from thetime they emerged until the time they materialized in architectural design.

Architectural Research Quarterly

Kieran Timberlake Architects have demonstrated in a series of builtprojects the constructive logic of architecture and the ability of buildings to alter our perception of a site. Their work exemplifies arespect for materials and assemblies and an interest in the idea of ‘instauration’, which views a place as one of continuousinhabitation. In an era in which architects often try to express non-architectural ideas through their buildings, KTA’s return to theexpressive power of construction and materials, of sensitive sitingand understated form comes as a welcome change.

Architectural Design

The highly formal discipline and control in the architectural profession and practice which derives from many famous architects and theorists since the 1920s such as Le Corbusier, Peter Eisenman, Frank Lloyd Wright, Aldo Rossi, and many others, have huge influences and defines the current practices and framework in most architectural education and culture. This led architects to have false perfection in the architecture design process, as they are defined and restricted to the various ideologies, yet forgetting that the current context can be completely different. This paper follows a British architect, educator, and writer, Jeremy Till's (2009) book “Architecture Depends”, in resistance to the formal practice, as he argues the concern of architecture produced by highly shaped architects that detached from the realities and overlook the contingency in architecture.

… of the Third International Congress on …, 2009

Engineering structures are said to represent a specific aesthetics based on principles such as materialefficiency and flow of forces. This paper wants take a closer look at this aesthetics. By the examples ofsteel and concrete bridges, it aims at tracing back its origins and by taking into account also examples fromother disciplines it wants to reveal interrelations between structural engineering, architecture and art. Besidesshowing how profoundly these disciplines were influenced by what was and still is called the “engineer’s aesthetics”, this paper also wants to raise the question, if and in how far current proclamations of this aesthetics seem reasonable.

The work of Oswald Mathias Ungers and Rem Koolhaas is examined 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 Journal of Aesthetics and Art Criticism, 2011

PosFAUUSP

This work discusses how ideas are constructed in the design process of architecture projects, identifying what enables their emergence, development, selection and elimination. A qualitative and exploratory research method was used. The basic assumption is that ideas are mainly the result of knowledge, although influenced by subjective factors of the designer: criticism acts as a filter of ideation, thus governing the process of selection and disposal of ideas. Theories, assumptions and arguments of other researchers on the subject of creativity were confronted with the findings presented. This revealed a pattern in the construction of ideas during architectural design processes that puts into question the theory in which ideas arise from the interaction between designers and their sketches.

AGATHÓN - International Journal of Architecture Art and Design, 2018

The mismatch between the profiles of graduates and profiles required by the labour market has led the Politecnico di Torino to experiment with new forms of project's teaching able to train professionals with markedly interdisciplinary profiles. Master's Degree Programme Architecture Construction City gives shape to this interdisciplinary approach through the design units, which coordinate two to four disciplines around a single project. The experience of the Design Unit Architecture and Structural Forms is presented here as an example of this approach to the project through the recognition of the interrelation between the architectural and structural types and the coordinated use of physical and virtual models as a teaching tool.

Architectural Design, 2013