READINGS AND REFLECTION
THE SECOND DIGITAL TURN
MARIO CARPO
THE SECOND DIGITAL TURN
Much of this book pertains to the second digital turn, or Web 2.0, after the initial introduction of CAD/CAM software's in the 1980s - the 1990's where the initial exploration of digital media was conducted. In Web 2.0 the conversation of mass customization, particularly chapter 4, becomes a key conversation and overlaps with other readings
Chapter 4: THE PARTICIPATORY TURN THAT NEVER WAS
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In this section Mario Carpo discusses the collaboration that is needed to address the authorial conundrum of digital mass customization. The participatory culture of the Web 2.0 thought that collaboration and interactivity could be the solution to this authoritative problem. This involves the collaboration of the client to participate in the design process ,to co-design, or "customize", the final output within the limitations set by the designer. Yet Mario Carpo claims that this mass customization and collaboration has not been a part of the profession. This could be in part to ideas of a naïve client and rejection to allow them to participate within the design project. As mentioned in San Rocco's "Clients", the idea of the client deterring the architects "vision" is one that seems to reappear frequently. Collaboration in a sense is threatening to the Architects authorship and authority over a project.
Francis Gatlon's experiment in the knowledge of many reinforces the claim of collaboration being a reliable tool in attaining accurate knowledge. Mario Carpo goes on to compare this experiment to the online platform WIKEPEDIA where there are multiple authors constantly adding information to any topic. But with the style of many hands there becomes a fragmentation of information that can be fixed with a series of "patches". This patchiness however is only seen by a select few specialists that can formulate the collective information into one cohesive design.
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With BIM technology collaboration is part of the software's design and intention. Multiple architects, contractors, engineers, interior designers, landscape architects, etc. all work on the same model adding more information towards a set of construction drawings for the final outcome. However the limitation of this collaboration is set to invitation only, where one authoritative figure allows a select few to alter the model at a given point in the designs progress. This collaboration within the BIM (Revit) platform turns the practice into a mode of "design by committee". Mario Crapo looks closer at the process of committee design and notes, "on closer scrutiny, it seems that committees are more likely too endorse consensual, generic solutions than a specific, and possibly brilliant, but unconventional idea, such as a camel or mini." Committee design may not result in extravagant gestures or monumental buildings but produce consensual designs that meet the needs of everyone. With this in mind how can architects bring back these architectural qualities that might give a project a life of its own? In the collaborative platform of BIM one could say authorship is shared amongst the entire committee or given to the individual who decides which collaborators are invited and what time that happens.
SAN ROCCO
cLIENTS
This book is a collection of essays fictitious and non about the role of the client within architecture and design. Much of the conversation resolves around what makes a good client and some historical instances of clients willing to "invest" in the vision of the architect.
In the conversation relating to the influence of technologies influence on the clients decision making this book tries to create an array of interactions with clients and discern what a "good" clients consists of. skimming through the book three chapters somewhat relate to the conversation being had with TSP and the Regional Science Center in Aberdeen, SD. In the Editorial the author makes a point worth noting, all architecture, whether funded publicly or privately always affects the public agenda. There is a misunderstanding with the client in which they do not understand why they need architecture. It is up to the architect to try and educate the client but no matter what the client doesn't want to be taught. It seems that architecture at this point in time is falling "out of fashion" and is up to the profession to educate the public on why it is needed.
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"The Client as Vessel"- Kersten Ceers
Clients that are willing to invest money into large scale buildings usually do so to put their name on it, such as Trump Tower or the Burj Khalifa. But regardless of the egotistical intention behind the clients intention these buildings live on and become landmarks to a particular city. Even after those who initially commissioned the building die, the building may be renamed and continue on as a benefit to the urban landscape such as Sears Tower now Willis Tower.
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"The Disappearance of the Public Client" - Oliver Thill
Designing for public clients has disappeared and has taken on the new form of the committee. Oliver defines the committee as " a group of more or less single-field specialists, each dealing with only a limited part of the entire building operation. Not only is this seen in the clients but can describe the design team as well. Oliver describes the committee as a client as unable to develop a holistic idea of what the design should be. This notion has replaced people on the committee with a "more neutral, less ideological, more easy-to-control and easy-to-replace specialists." In the NSU client committee there are two that were developed, the executive committee and the faculty committee. As mentioned in the Mario Carpo reading "The Second Digital Turn" these committees are made up of individuals who have their own agendas and can create conflict within the design process. Thus the process goes through a series of negotiation to create "generic solutions". The cautious decision making of the committee client no longer takes risks and instead focuses more on avoiding mistakes to prevent failure. Can this dynamic also be seen within a design team or "committee"?
MARIO CARPO
THE ALPHABET AND THE ALGORITHM
In Progress
In Progress
LLUIS ORTEGA
THE TOTAL DESIGNER
In Progress
In Progress