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Presentation/Representation/Re-Presentation Fragments Out of the Dark to a Lived Experience
Dorita Hannah and Sven Mehzoud
Performance’s only life is in the present. Performance cannot be saved, recorded, documented,
or otherwise participate in the circulation of representations of representations: once it does so, it
becomes something other than performance (Phelan 1993: 146).
What does the term ‘installation art’ mean? Does it apply to big dark rooms that you stumble
into to watch videos? Or empty rooms in which the lights go on and off?
In 1948, Swiss art historian Sigfried Giedion publishedMechanization Takes Command, an epic investigation into the origins, evolution, and impact of mechanisation on human civilisation.
In the Time of Full Mechanisation
Bir sanat etkinliğinde yapıtyapangören arasındaki ilişki yüzlerce yıldır felsefenin gündeminde. Bu çalışma, konuyu belli bir açıdan, sorunun tarihine inmeden bir kavramsal çerçeve içinde ele almayı deniyor. Sanat yapıtını, onun yapanını, görenini ele almaya önce insanı insan kılan temel ontolojik özellik olan “duruş”la başlayalım.
The role of making in the architecture design process has been a topic
of increased discussion within a contemporary culture that emphasizes
the visual, the fast and the virtual, and where the relationship between
mind and body has become distanced. Especially in design culture,
educators have been failing to recognize the potential that a broad
engagement with all senses would bring to the creation of evocative
architectural spaces.
Meaning in buildings is built up over time with a broad range
of aspects in design tradition which comprises a specific scope of
knowledge. Vitruvius stressed in his first book on the education of the
architect that this knowledge includes the acquisition of both manual
skill and scholarship, and that “those who relied only in theories and
scholarship were hunting a shadow, not the substance”, while those
who attained a complete knowledge of both would sooner accomplish
their purpose and influence others with it (Vitruvius, 1960, p.5). One
way architects can achieve this is through an interdisciplinary design
practice that brings together architecture and artistic sensibility.
ABSTRACT
Adopting an empirical teaching/working experience against an urban design theory backdrop, this paper investigates ‘Design Thinking’ from a personal view. It explores the interplay between the different design disciplines and offers an interpretation on how the lines between them blur and how they may connect(ED) through teaching programs. A brief history of urban design introduces the subject, demonstrates the dynamic forces of the city, touches on the ongoing tussle for definition of Urban Design and ultimate recognition of it’s distinction from Architecture, Planning & Landscape Architecture as an independent profession. Once the lines are drawn, it is time to move on and acknowledge the indispensable value of crossing the lines &
connecting design fields, a function that recognises; ‘…that designing is a multi-layered thing, to be learned slowly, layer by layer, but designers must combine all the layers at once, and understand their interaction…’ (Venturi2004)
BUFFET IS SERVED IN THE SPACE-LIMITS
THE MEANING AND THE CONCEPT OF MODEL
PHYSICAL AND VIRTUAL: TRANSFORMATION OF THE ARCHITECTURAL MODEL
Arpak, Aslı
Today the most prosperous interface of architectural design and representation has become the architectural model both in its digital and physical forms. There has been a shift in the design medium from the physical modeling processes to computer-aided design, by way of which the computational design methods have established a much more dynamic, complex, and continual design. In this process, the digital design model now accompanies the whole design as a single entity, contrary to conventional analog modeling techniques where design is compartmentalized into linear phases. By the embracement of computer-aided manufacturing (CAM) in company of computeraided design (CAD), physical modeling has gained another dimension in the interwoven relationship of the digital and physical. The aim of this study is to explore the novel conceptual and computational changes which mark the departure of this new mode of design from the old. There has always been a hierarchy of presence between the virtual space of representations and architecture’s materiality. Within this context, the emphasis of the study is on the relationship between the virtuality of conception and modeling processes, and the materiality of construction, production and fabrication.
Keywords: Architectural modeling, physical modeling, virtuality, computational design, rapid prototyping (RP)
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