2005 Jul - Design Through Making.pdf - Architectural Design Magazine - 39 Issues from 2005 - 2011 (AD Magazine Art) - hilakku

Design

Through

Making

Forthcoming Titles 2005/06

The New Mix: Culturally Dynamic Architecture

Guest-edited by Sara Caples and Everardo Jefferson

September-October 2005, Proﬁle No 177

We are at a new moment in architecture, when many cultures are contributing to the unfolding of

Modernism. This enriching influence is broadening the mix, extending the range available to architecture, of

materials and colours, evocative forms, cultural references and social thinking. In an era of boredom with

monocultures and orthodoxies, there is the almost universal expectation that the metroculture, whether in

London or Beijing, will provide broadened cultural experiences in food, performance, dress and sound. The new

ethnically diverse city is a place of zesty daily encounters/collisions/cohabitation between cultures, a place of

mixed signals, contradictions, delightful confusions: Franco-Japanese cuisine, elite schoolchildren wearing

doo-rags, jazz performed on gamelans – whatever one's mother culture, we're all getting addicted to varied

rhythms, different emotional emphases, ‘other’ ideas of beauty. This change is visible in schools of

architecture, at least in the range of students, typically from many ethnicities, none of them constituting a

majority. No wonder, then, that there is increased interest in ways that architecture can incorporate a larger

compass of riches. A rising group of practitioners is meeting the challenge of this broadening cultural

landscape in pursuing strategies of quick switching, layering, reframing that ultimately might help create a

more robust Modernism, helping to rescue it from a ‘potato blight’ of too much sameness.

This issue presents a dynamic cultural mix: Teddy Cruz in Tijuana; Steven Holl in Beijing; Iain Low in South

Africa; Jayne Merkel in Queens, New York; Anooradha Iyer Siddiqi in Bangalore; and Leon van Schaik in Australia.

The New Mix:

Culturally Dynamic

Architecture

Sensing the 21st-Century City: Close-up and Remote

Guest-edited by Brian McGrath and Grahame Shane

November/December 2005, Profile No 178

The 21st-century city – defined by the duality of mass migrations to cities and continued sprawl – provides

innumerable challenges and opportunities for architects, designers and planners today. Rapid environmental

changes require scientific monitoring as forests and farmlands depopulate further; vast informal, self-

organised urban settlements develop in the absence of master planning; and hyper-nodes monitor and

influence everything through networked communications, media images, foreign aid and military might.

Remote sensing and hand-held devices combine to create just-in-time delivery of design and planning

services. These have the potential to shape and manage, as never before, vast interconnected ecosystems at

local, regional and global scales. Close collaborations with scientists, decision makers and communities incite

architects to realise new communication and networking skills. As the role of architects is transformed into

that of designers of the form of information, flows and processes, rather than master planners, they will

become the critical actors in shaping the cities of this millennium.

Presenting specially commissioned features on Dubai, Cochin, New York, London, Washington DC and

Barcelona, this issue also encompasses articles by specialists such as geophysicist Christopher Small and US

Forest Service social ecologist Erika Svendsen, as well as urban designers and architects.

Sensing

the 21st-Century City:

Close-up and Remote

Man-Made Modular Megastructures

Guest-edited by Ian Abley and Jonathan Schwinge

January-February 2006, Proﬁle No 179

By 2030 there will be 8.3 billion people on earth. This presents a unique challenge in terms of provision. Such a

massive, largely urban population can only be accommodated in expansive megacities.And such a development

needs to be supported by advances in the art, science and processes of manufacturing. Deploying these abilities

will also require us to shrug off the dogma of sustainability that insists that only small can be beautiful.

Humanity has come a long way since the first modular megastructure was built at Ur, in what is now Iraq.

There, four millennia ago, and by hand, the Sumerians built a mud-brick ziggurat to their gods. Today, the green

deities of nature, which we have invented for ourselves, are worshipped with humility. Eco-zealots argue against

the mechanised megaforming of landscape and the modularised production of megastructures. Does this

very caution and sense of tact, however, risk denying a portion of the world’s population much-needed housing?

Guest-editors Ian Abley and Jonathan Schwinge, of research organisation audacity, call for development on a

bold scale. They argue that by rapidly super-sizing the built environment, society is not made vulnerable to natural

or man-made hazards, and design innovation surpasses biomimicry. Designers can learn from materials scientists

working at the smallest of scales, and from systems manufacturers with ambitions at the largest. This issue

calls for creative thinking about typologies and topologies, and considers what that might mean for Africa, China,

India, Russia and South America. Megacities everywhere demand integration of global systems of transport

and IT in gigantic or spreading structures, constantly upgraded, scraping both the sky and the ground,

outwards and into the sea. It is time that man made modular megastructures with some self-confidence.

Manmade

Modular

Megastructures

Architectural Design

Vol 75 No 4 July/August 2005

ISBN-10 0470090936

Profile No 176

ISBN-13 9780470090930

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Editorial Helen Castle

Design Through Making: An Introduction Bob Sheil

Building the Drawing Jonathan Hill

Drawing Instruments Nat Chard

Homo Faber Mark Burry

In My Craft and Sullen Art or Sketching the Future by Drawing on the Past Michael Stacey

Orgone Reef Philip Beesley

Hooke Park As a New AA Initiative in Education Mark Prizeman

Getting Specific Phil Ayres

Adaptive Architectural Design Nick Callicott

Making a Bang Bob Sheil + Ron Packman

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Makeshift: Some Reflections on Japanese Design Sensibility Sarah Chaplin

Walter Pichler David Dunster

Learning in Newbern: Rural Studio in Year Ten John Forney

The Architecture Ensemble Steve Johnson

Fabrication Research John Thornton

Concept Planning Process Realisation: The Methodologies of Architecture and Film Nic Clear

Design Through Making

Guest-edited by Bob Sheil

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Interior Eye: Just Build Craig Kellogg

Practice Profile: Block Architecture Iain Borden

Building Profile: Raines Court Jeremy Melvin

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Home Run: The Brunswick Centre Bruce Stewart

McLean’s Nuggets Will McLean

Malediction d’Agamemnon: Jardin de la Guerre, La Guerre du Jardin Charles Jencks

Site Lines: The National Road David Heathcote + Sue Barr

Editorial Helen Castle

What the exact nature of the relationship between design and making might

be is a perennial question for architecture. Ever since architects first hung

up their hats as ‘master builders’ and asserted themselves as a profession,

with a dedicated training, it has been necessary to consider the price of

acquiring their own exclusive body of knowledge. How can it be possible to

make up the ground they once had as supervisors of works who gained their

position having passed through the ranks as an apprentice and then mason,

procuring a hands-on knowledge of materials and construction on the way?

Can learning ever make up for the shortfall of immediate experience? The

distance between the architect and fabrication on site has, it seems, only

intensified in the last couple of decades with the emergence of middle men –

project managers – and design and build, and then been further exasperated

by the emergence of the global market in professional services that has

enabled the subcontracting out of production drawings.

The role of the architect may have been in danger of being pared right

down to the concept sketch, whether the conventional Modernist signature

napkin drawing jotted down in a moment of inspiration, or a slickly presented

computer-generated blob. However, in the last few years this situation has

been potentially inverted. The onset of CAD / CAM interfaces that allow

designers to design directly for manufacture has placed production

potentially back in the hands of the architect. This is a position that was

advocated by the New York practice Sharples Holden Pasquarelli (SHoP) in

their 2002 issue of 2 Versioning: Evolutionary Techniques in Architecture,

when they asserted a notion of ‘the vertical’ that put the architect back at

the top of the pile. For many younger architects, control over the production

process is an important means of recovering creative control.

Even though everything may have seemed to have colluded against

architects’ involvement in overseeing the fabrication of their buildings in

the late 20th century, a vibrant preoccupation with making has never waned

within architecture. It has been enthusiastically and faithfully pursued by

many designers, who make it their business to investigate materials and

construction, whether in the pursuit of the intricately crafted or for the

sheer adrenalin of discovering innovative structures and systems. Guest-

editor Bob Sheil – a member of sixteen*(makers) and a tutor at the Bartlett

–is by his own admission a passionate advocate ofdesign through making.

And this issue of 2 is therefore a testament to both the passion with which

fabrication is pursued, using both craft and new technologies, and the very

divergent questions that a pursuit of making throws up. 2

2005 Jul - Design Through Making.pdf

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