Key Note Conference Eaae Ehnsa Barcellona

Antonino Saggio I Quaderni

Talks

Part two
(continued.. back to first part <<)

Give me a cord and I will build.... Construction, Ethics, Geometry and Information Technology
eaae-ehnsa Ets Barcelona 22 September2005

Follow the movies

PArt 2, 12 mega >>

Part 3, 4 mega >>

from the It Revolution in Architectur Book series >>

Detail Lindsey Detail Waranabe Detail Travi Nardini De Luca

And there are some important text in development

Dimitris Papalexopoulos,Ass.Prof.School of Architecture N.T.U.A.

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"Interactivity integrating IT catalyses the old notion
of flexibility,leading to the transformable,its
techniques and aesthetics..The flexible was
segmented,the transformable is continuous,para-
metric and fluid. "

Dimitris Papalexopoulos,Ass.Prof.School of Architecture N.T.U.A.

1. Engagement /Disengagement

Kahn/(Utzon)/Gehry
read in italian 1 and 2
see in English "Domus" n. 808 10/1998
Antonino Saggio, JØRN UTZON, ARCHITETTO DELLA SYDNEY OPERA HOUSE
Domus, n. 808, October 1998 (p. 114 ).
book review of
Françoise Fromonot, Jørn Utzon, architetto della Sydney Opera House,Electa, Milano 1998 pp. 234

" Utzon elabora le sue soluzioni scegliendo un imprenditore con cui ricercare insieme la soluzione migliore: progettazione strutturale e costruzione sono un fatto coesivo ed è quindi impossibile mettere in gara d'appalto la costruzione. Le proteste degli industriali innome della libera concorrenza, insieme al cambiamento del quadro politico, sono tra le cause principali del suo allontanamento dalcantiere. L'idea di realizzare industrialmente non la ripetizione seriale di Mies ma i propri sogni entra in crisi nella realtà politica ed economica degli anni Sessanta ma trenta anni dopo, Gehry realizza con successo il Museo Guggenheim di Bilbao. Mentre Utzon doveva cercare una razionalità geometrica delle forme per poterle disegnare prima e realizzare industrialmente poi, grazie all'avvento del computer qualunque forma può essere rappresentata e le diverse imprese in gara proporranno ciascuna il proprio sistema per realizzarla. Vicini al duemila nonsolo l'immagine risulta svincolata dalla funzione, ma anche la costruzione è diventata autonoma. "

AS Domus 808 October 1998

Kahn
Absolute consistency
Construction IS function IS Space

In an absolute anti-Kahnian Process

2. Classical Consistency vs Anticlassical Consistency

Foster chapels
Gehry's hair
deep selfportarits

The information Technology Architects

3: Let's design a Sculpure, Arup or Calatrava will make it anyway.
" do not worry we will figure it out how to build"
"Engineering is the art of possible" Calatrava

René Magritte Le modèle rouge1935

The whole point is that construction IS NOT important!?

OR do we find an ESTETICA of digital construction
a Semperian one in Cache?
or a SUPER-functional pocket like construction in the
Jakob/Macfarlane Library

4. Bones vs Skin

Domino structure out Ananlityical Syntethical relational

AntoninoSaggio Preface to Bruce Lindsey's Digital Gehry, It Rev, Birkhauser 2001:

"....Lindsey also touches on conceptually important points. The first is one he
defines as Skin in. If the modernist process begins from the structural grid toward the outside, Gehry’s process is the opposite: from the shape
of the skin and therefore the exterior surface, he passes to the secondary
plans and structure and then to the shaping of the spaces. Let’s consider
the consequences of this approach. Does this "skin in" process bring with it a radically different method with respect to the "industrial" and
"modernist" approach? Naturally, the reader should think about this a bit before proceeding with the following lines.

The answer is: yes, and how! The skin in approach is linked to a
paradigmatic change in all of architecture. The modernist method was
similar to an assembly line: pieces were developed that made up the
machine/architecture, components were standardized and the various
systems (of the structure, plants, exterior panels) were made as autonomous and independent as possible. Remember the 5 points of Le
Corbusier? The system was summarizing, mechanical and absolute.
Gehry’s method is instead "relational"; the secret is the relation between
the parts instead of their independence. Underneath the curves of his
architecture, the components of the construction are connected to each another through an electronic model also realized in coordinated layers;
one that regards the exterior surfaces, one of wire that describes the geometry and structural grid and a third that outlines the interior cables.
All together they form a sort of carpet: waving, electronic and, if we recall the Futurist, Boccionian trajectories we have used to describe his work, in
flight. Streams of luminous electrons seem to trace hyperbolas in the atmosphere."