architecture+textonic+in+construction+page

7/30/2019 Architecture+Textonic+in+Construction+Page

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C e i l B a l m o n d ,2002

to my mind the answerslies deep in configuration.As we are made of patterns,both random and regular,

both physical and emotional,probing the archetypes of pattern is important in itsrecognition and resonancewe may find an element of

beauty. In the past, beautywas condit ioned by asp ectsof purity, fixed symmetriesand pared minimal structurebeing accepted as norms. Nowthe world is being accepted asnot simple, the complex andoblique and intertwining oflogic gain favor. Reason itself

is finally being understoodas nascent structure, non-l i near and dep endent o nfeedback procedures. Beauty

may lie in the actual processesof engagement and be moreabstract that the aesthetic ofobjecthood. Ultimately it mayreally be a constructive process.

1

ARCHITECTONIC


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Architectonic

T ecto ni cs a lo ne ho wev ershould be defined by its origin,which was simple to Build.

Tectonic in my opinion is thestudy of how physical formsare put together. In the case ofarchitecture, tectonic wouldbe the study of how the walls,roofs, floors and other visualplanar elements of the buildingare assembled.

Performance-orientedArchitecture

T h e c o n c e p t o f P e r f o r m a n c e - o r i e n t e dArchitecture, original lyp r o p o s e d b y M i c h a e l

Hensel, is based on the term'performativity' in which allelements in both the builtand natu r a l env i r o nmentare heterogeneous and inconstant response to oneanother as well as externals t i m u l i . H e n s e l e m p l o y sthe term performance

to address the l imitationsof representation andmeaning in reference tothe central issue of post designoptimization (the functionalissues that arise toward the laterstages of the design processwhich result in the alteration ofinitial design intentions).


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Sectioning-

Serpentine Gallery Pavilion,Alvaro Siza & Edurardo Soutode Moura;

c-space, Alan Dempsey &Alvin Huang;

B U R S T h o u s e ,S Y S T E M a r c h i t e c t s ;Mafoombey, Martti Kalliala


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Tessellation-

G e o d e s i c D o m e s ,Buckminister Fuller;

Programmed Wal l , FabioGramazio, Matthias Kohler,ETH Zurich;

B M W W e l t , C o o pHimmelblau;

Simthsonian Institute, Foster &Partner;

Helios House, Office dA andJohnston Marklee & Associate;

A i r s p a c e T o k y o , T h o mFaulder Architecture;

Technicolor Bloom, Brennan

Buck


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Folding-

Yokohama International PortTerminal, FOA;

p r o to typ e :Mi lgo - B u fk i n ;Weaire-Phelan Structure, NickKarklins;

Dragonfly, Tom Wiscombe;

Entry Paradise Pavilion, ChrisBosse;

Aoba-Tei, Atelier Hitoshi Abe;

C-wall, Andrew Kudless.Lamina Design,

S u r f M a s t e r , P e p a k u r aDesigner, SolidWork, LITIO,


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Contouring-

Bone wall, Urban A&O;

Gradient Scale, SPAN;


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Forming-

Alice, Florencia Pita mod;

Prototype Pavilion, MOS;

Sat in Sheet , univers i ty of California;

P-Wall, Andrew Kudless.

M a s t e r C a m , R h i n o C a m ,SurfCam, G-code

architecture+textonic+in+construction+page

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