By Mark Garcia
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Despite the exaggerated information of the premature 'death of the detail' by way of Greg Lynn, the architectural element is now extra reasonable and lively than ever earlier than. during this period of electronic layout and construction applied sciences, new fabrics, parametrics, construction info modeling (BIM), augmented realities and the nano-bio-information-computation consilience, the aspect is now an more and more important strength in structure. even though such digitally designed and produced info are diminishing in dimension to the molecular and nano degrees, they're more and more changing into extra complicated, multi-functional, excessive functionality and self-replicating. faraway from being a non-essential and ultimate end, this new kind of hugely advanced high-tech aspect is speedily turning into the integral and demanding center, the (sometimes iconic) DNA of an cutting edge new species of outfitted environmental shape that's spawning in scale and prominence, throughout product, inside, city and panorama layout. This factor of advert re-examines the heritage, theories and layout of the world's most important spatial info, and explores their leading edge potentials and probabilities for the way forward for architecture.
Contributors include: Rachel Armstrong, Nic transparent, Edward Ford, Dennis Shelden, Skylar Tibbits.Featured architects: Ben van Berkel, Hernan Diaz Alonso, Peter Macapia, Carlo Ratti, Philippe Rahm, Patrik Schumacher, Neil Spiller.
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Extra info for Future Details of Architecture (Architectural Design)
Sample text
The future of detail is not a technical question any more than is the future of architecture. 1 Notes 1. Kunio Maekawa, Kosumosu tu hoho (Cosmos and Method), Kenchiko Sekkei Jimusho (Tokyo), 1985, pp 209–10. Quoted in Fumihiko Maki, Nurturing Dreams, MIT Press (Cambridge, MA), 2008, p 200. 2. See Arie Graafland and Jasper de Haan, ‘A Conversation with Rem Koolhaas’, The Critical Landscape, 010 Publishers (Rotterdam), 1997, p 229. 3. Rem Koolhaas, Content, Taschen (Cologne), 2004, p 164. 4. Greg Lynn and Mark Foster Gage (eds), Composites, Surfaces, and Software: High Performance Architecture, Yale School of Architecture (New Haven, CT), 2010, p 56.
But often the motivation for this consistency goes well beyond visual coherence to an insistence on details that are not only formally, but also ideologically, consistent. This invariably is some version of a technological zeitgeist, the spirit of the times. The process is simple. The architect seizes on a technological development – mass production or digital fabrication – then creates a series of architectural forms based on projecting this trend towards its complete realisation. To Le Corbusier, the zeitgeist of mass production demanded standardisation, so the typical sliding windows of the Villa at Garches (1927), the Villa Savoye (1931) and the Swiss pavilion (1930) are a single, identical size.
2 Given the context in which he said it, defending the detailing of his Rotterdam Kunsthal (1992) by criticising Carlo Scarpa, I think he meant that the junction should not be an object, that the meeting of these two parts should not generate a third. Much of the detailing in the Kunsthal could be called collaged, or rather a collision. Two surfaces of different materials simply run into one another. To Koolhaas, the modern joint is ‘clamped, folded, glued, or fused’. 3 To many the desirability or absence of this third object, trim, is a discussion of no consequence, or at least soon will be.