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Apparatus
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The beginning of our evolution as Homo sapiens was influenced by a multiplicity of survival factors that, through time, have driven us to make and utilise tools – creating and inventing methods by which to survive, develop, progress and ultimately set us apart as a species. While many tools still exist today for simple survival methods, others have originated from a deeper aspiration for the advancement of social, political, technological, environmental and medical efforts. Behind all of these vast fields of knowledge and disciplines are the tools which have formed and informed them, and therefore it may be stated that it is tools which make us human.
there are a few extremely essential tools that an architecture student must master in order to survive this course; however, it is the technique in which we use them that we want to explore. We want to look deeper into how tools’ impact us as architects, designers, and critical thinkers. Throughout this magazine we might ask questions such as: How do architects’ tools influence their work flows? What role do tools play in our design processes? Along this journey with us you will discover that each and every apparatus that we use becomes a tool for research. Understanding the methods by which each mechanism functions allows us to investigate the ways in which tools have the power to enhance or undermine specific elements of our conceptual arguments, which may then provide insight to the concepts themselves. What results is a research feedback loop of:
This magazine seeks to explore the underlying nature of tools that the master of architecture students use at UTS. There is no doubt that our use of tools and objects may be summarised as basic operative actions to achieve desired outcomes for our projects. In fact,
Genesis of a concept Testing of concept with specific design tool Insight into what might be missing or enhanced Reworking of concept The tool lends itself to the development of conceptual frameworks, and thus, the development of the architecture student.
our exploration of design. Often these instruments are the unsung heroes of our projects, sculpting not only our projects, but ourselves, with their own inbuilt intricacies.
In Apparatus, five simple tools that are used in five UTS Master of Architecture Studios are examined to reveal elements of complex, fascinating methodologies that shape
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“Our lives are constituted through the infinite variety of objects around us. By critically considering them, we can achieve a fuller understanding of contemporary life”. Anne Burkhart, Object lessons - thinking about material Culture, 2015 Research objects to help us make architecture. They work as the mechanisms though which we translate concepts and ideas into drawings, models and other media to produce ‘architecture’. Architectural discourse often foregrounds ideas and concepts, yet what is equally fascinating yet often overlooked are the object and methods that conceive, develop, manufacture and more often than not, change and transform those ideas. The way we use tools in architecture is as varied as the vast range of schools, typologies, scales, types and styles architecture encapsulates. From the simplest tools such as pencil and paper to advanced digital techniques such as parametric and environmental simulation. Architectural tools and research objects have evolved and are developed to work within broad umbrella architecture covers.
or in some cases, hidden completely. In the hands one student, tools may be thought as an essential or even a singular way of working, that is to say, a driving force behind the architecture it creates, whereas for others students’ – research objects are merely thought as a means to an ends where they may not even register in our consciousness as something significant. But either way or anywhere between those attitudes, whether explicit or unknowingly, all work and research that is being produced in the studios is a result of the object of research that makes them. Yet despite the power tools hold, there currently is not a platform at this university that provides a place for critique or discussion about how these tools affect the design, research, process, outcomes of the studios. And by extension, the way architecture students engage and design with them. The magazine will provide an opportunity for the student body to capture and explore the tools which we are using on a day to day basis to make and produce architecture in a deeper way as we seek to promote a critical understanding of the research objects and tools that surround us. As Anne Burkhart suggests in her 2015 paper, Thinking About Material Culture,
In some instances the tools used by the architect or designer is clearly evident in the design itself, a celebration of sorts of the tools and technology of the time used to produce it. Inversely, or rather, in response to a different brief or context, tools and methodology can be more mysterious as they are deployed in a way that is more discrete or subtle in the architectural outcome,
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‘The study of […] objects is important because they are pervasive and they embody and perpetuate ideas about cultures, regions, religions, nations and individual and collective identities. (p.33)
of the studios, framing the tools of architecture rather than the work itself. By framing the studios though the tools used to create it, we seek to offer a unique and untold entry into research being undertaking in the studios. There is an intrigue behind the tools we use and spend hours with day to day and we have no doubt there are stories behind this that should be uncovered.
We seek to uncover the overlooked and under-documented objects, tools, methodologies and workflows that are being developed, invented or in many cases simply deployed as they are intended. We will look into tools that may be thought of as off centre to mainstream architectural though whilst not forgetting about the traditional tools such as pencil, paper, and one trusted cutting knife. The magazine will work to form a new archive and commentary on disciplinary research tools used by the masters of architecture students at the University of Technology, Sydney – telling of the collective identity and culture of the master’s program and studios.
In this first issue of Method, Spring 2020 we will look at five tools relating to five studios being run this semester. We will explore saturation as a photo manipulation tool used to construct mood and atmosphere in the studio of Andrew Daly & Eduard Fernandez , ‘Never Ideological: Endangered Typologies’ as they claim “manipulation of the image as the primary tool of the architect”. We will then turn to the concept board, a platform design development and critique born out of the transition to online learning during the global Covid-19 pandemic. Following this, we will step back into time, as the ISBN Number is explored as a reliable research and archival tool in Angelo Cadalepas’ studio: A Reading Room with a Throne.
Research Objects in architecture can be viewed from many different perspectives to reveal multiple, and sometimes contested or conflicting schools of thought. While we may start questioning studios and studio projects with questions such as: What tools are you working in? How and when was it made? What workflow did you follow and how was it used? Answers to these questions will open up the exploration on how objects connect people and express knowledge and cultural values though architectural design projects. Released in line with the semester milestones of Mid Sem, Pre-final and Final reviews, as well as a special end of year exhibition edition, this magazine will both record and open up new and alternative discussions that will work tangentially to the final outputs
Jumping back into this century, we will then turn to the GIF as a unique and dynamic form of architectural representation to animate and enliven design in Miguel Rodríguez-Casellas’s 16 person group project ‘Dirty talks’/ an (e)Sc(h)atological Museum of Architecture, which will featuring an interview the Parisian Architect and GIF Artist, Axel De Stampa. Finally we expand our horizons to a ‘panoramic view’ as we explore Amaia Sánchez-Velasco and Liam Young’s studio, Planet City; Social Condensers.
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Concept Board
Gif /dʒɪf/
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24 - 37
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Satura
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ation
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The ISBN Barcode
Panorama
54 - 65
66 - 77
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CONCEPT BOARD Critical Conceptual Dialogues By Benjamin Chen, Grace Mortlock, David Neustein
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Digital Design Dysphoria
Architecture, and other like-minded design disciplines, indoctrinates it’s practitioners in a culture of collaborative critique. Group discussions and the repeated scrutinising of ideas and concepts that are undertaken over the development of proposals underpin the success of the creative industries. The unique position and openness of practitioners to informed and uninformed external commentary and critique can result in refined outcomes beyond traditional indices of success. This is the critical conceptual dialogue
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Is bon re fati, notis prorum ina, sessimus;
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Studio culture metamorphosises itself from the dense proximity of practitioners that occurs in the schools of architecture, fostering an increased intensity of design discourse. It acts to propel the design critique further into an act of defiant courage and the exhuberant exchange of ideas, beliefs and creed; the manifestation of true collaboration in an impassioned discourse.
How then does this discourse fare in the face of isolation and social distance? Are we at risk of impending digital design dysphoria?
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Critique as Collaboration
Here we interperate Laura Forlano’s & Stephanie Smith’s postulation on the trajectory of the design anthropology, and the inherent value of design critique in their 2018 article Critique as Collaboration in Design Anthropology for the Journal of Business Anthropology.
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The cemetery for 5 million people
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Funeral for a Concept
text - drawing parallels between the discourse of ideas and discussion in critique that results in the radical departure or change in trajectory of a project, and the funeral gathering/witness to execution that occurs on Concept Board.
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GIF /dʒɪf/ GRAPHICS INTERCHANGE FORMAT From Studio Dirty Talk By Ivy Geleen Bautista, Axel De Stampa Miguel Rodriguez-Casellas,
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Elements in Series
GIF has been in the digital era since 1987 and was developed by CompuServe led by Steve Wilhite an american computer scientist. The images that is combined through graphic interchange format (GIF) will have a unique power to capture extra architectural details in contrast with in still pictures. Its digital illustration using frames of an animation sequence with a flexible time delay are technical vehicle to a more contemp rary and dynamic graphic style in architectural representation. Through the lens of GIF, we would be able to create a layering of the process that we have achieved and explained the architectural details that comes from it. It helps us to explore adjacencies, juxtaposition and encounter in between. The encounter inside and apparatus outside will then be understood in moment and how an architectural effect has been produced.
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Architecture AnimĂŠe
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Q How did you come up with the GIF representation in Architecture? Do you have earlier precedents or artists that you have known using the same tool of presentation?
Q - Why do you think it is an interesting/unique form of graphic representation in the Architecture industry? A - It’s unique because it’s like making a movie, the timing is the key. You can give a different message using a different timing to each image.
A - In 2013, we did our challenge 1week1project and produced 25 architectural spontaneous projects. For each proposal we tried to explore all new representations, I discovered the GIF format trying to explain architectural diagrams or axonometric. During my study in 2006 I worked on filming architecture and I built a studycam to film monuments; so I am very interested in the relation between time and architecture; it became a focus on kinetic architecture and activation on public spaces. In 2014 I naturally explored GIF format at the begining to make a relation between nature/animals and architecture with collage; and finally making architecture moving. All stereoscopie artists inspire me. And I still think about exploring stereoscopie for immersive experience in architecture.
Q - What subjectivity does it have and implications on your work? A - In my office, I now propose kinetic architecture, and try to create a new experience or a new interaction between the cliente and the building. Q - What is your advice in terms of technicality in using GIF as a tool? A - It takes a lot of time to make a GIF and try to transform it as an art piece, so my recommendation is to define everything before beginning it. It’s like a movie director. Be simple and try to use less images, and more effect you will find to your audience.
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Axel De Stampa Architect and GIF artist
“Motion in Architecture is mainly associated to the 4th dimension: Time. Time, through the body, experiences the building,�
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Anchoring & Mutation
We are now settled temporarily in the world of virtual university where classes are attended through online tutorial and lectures – delivered by Zoom and perhaps it comes with a unique set of challenges and diversity in terms of presentation. In Dirty Talks studio by Miguel Rodriguez – Casellas, the deliverables set in syllabus has been defined to work with a single project: A Museum of Architecture, coming from 15 students, the proposal is both about subjective collaboration and messiness of production, as much as trashy yet transcendental. Our position is then translated into our design by the layering of plans and ideas that collectively gathered from different students.Using the tool GIF to transform into a more cohesive understanding of the project.Through the lens of GIF, we would be able to create a layering of the process that we have achieved and explained the architectural details that comes from it.It helps us to explore adjacencies, juxtaposition and encounter in between. The encounter inside and apparatus outside will then be understood in moment and how an architectural effect has been produced.
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SATURATION Never Ideological: Endangered Typologies By James McNicol, Andrew Daly, Eduard Fernandez
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More than Mundane
Looking at the crisp blue sky, vibrant paint jobs and quirky compositions there is something dreamy to these images that begins to border on theatre. Having grown up in the suburbs a certain fondness to these urban landscapes is awakened inside of me that I can recognise as uniquely Australian. While I’m sure there are multiple photographic techniques at play, above else, it is the intensity of colour that makes everything seem so ‘fresh out the box’ that appeals to me. There is an idealism to the photos that drowns out anyone’s take on these places being banal or mundane. This stuck out to me, because, as a student of architecture there always seems to be a paring back of the representation so everything sits nicely within a degree of subtlety and saturation. So to be shown these images as exemplar for the studio it was interesting to understand that in this particular relationship the loudness of image and intensity of colour started to enhance the meaning behind the images.
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1. Unknown Land series by Louis Porter (photography) 2. Green Square Aquatic Centre proposal by Supercontext (digital collage) 3. Gumscape with Road and Creatures by Reg Mombassa (charcoal and coloured pencil)
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Neutrality Dissipates
Put simply, saturation refers to the intensity of colour. As the saturation increases, the colours appear to be more pure and as the saturation decreases, the colours appear to be more washed-out or pale. Throughout history it is obvious that this understanding of colour has played a major role in the production of ‘mood’ in traditional art practices such as painting and photography. All shades of colour and their perceptions are responsible for a series of conscious and subconscious stimuli within the audience that the creator attempts to evoke. But to begin to describe colours and the different features that govern them, or even the multitude of existing studies regarding these theories, is as complex as it is exhaustive. Therefore, I intended not to address the technicality of colours or concepts studied by critics. However, find it more beneficial to explore the unique relationship between colour and architecture. More specifically, a relationship convoluted by the majority of its representation occurring through secondary medium, where critical adjustments to aspects of colour like saturation can be manipulated at the click of a button.
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We should begin with a comment from Jesús Vassallo who states “Once we assimilate the idea that a photograph can be manipulated or constructed, it no longer matters whether it actually has been or to what degree. When photography’s illusion of neutrality dissipates, the act of making a picture becomes more than ever a charged statement about how the world could or should be”.
architecture is filtered through is more important than the space itself. The majority of viewers will only pe able to gain access to these spaces through digital mediums. This conservation is even more relevant when the architecture does not exist or is being proposed. In the context of tertiary eduction and even architectural practice a huge majority of idea generation and discussion is through the image. In these scenarios graphic representation and the subtelties of colour are key in communicating and no doubt ‘selling’ a particular idea.
In this sense it is important to understand the production of images is and has always been intrinsic to architecture. It is not always about whether something is built or not, but ideas generated by the images beginning to align with the architects discourse, serving as a mechanism for critqiue, analysis and proposal. In this sense, the objective archtiecture is less relevant that the position an architect can start to adopt when curating a particular image.
In general, the over saturation of colours conveys a certain liveliness, intensity and vibrancy to the archtiecture. Whereas a desaturation of colour conveys a subtelty, refinement and moodiness. Of course these conventions different in many contexts and their universal and instinctive connotation are often key techniques of persuasion and subversion for the architect.
Colour and the act of saturation is perhaps one of the most primal means of image production. It begins to speak directly to the viewers psyche and can communicate within an instant how a certain architecture is intended to be understood. Rather than noticing the particularities of a certain spatial outcome (which can be understood later) colour evokes an immediate reaction through its considered application. Of course the use of colour in built architecture is quite extensive but their is also an artistry behind post production of images to begin to tweak the colours to convey a certain ‘feel’ to the space. In many ways, this seconday lense that the
In the work of Louis Porter it is the very act of capturing the suburbs in such crisp and rich defintion that allows the audience’s subversion of the banality of the subject matter. In the artistic representations of Reg Mombassa it is the subtle use of a faded and sun-burnt palette that blends the querky represenations of suburban tropes the normality of the Australian urban fabric.
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Setting the Suburban Mood
From the very first presentation Andrew Daly & Eduard Fernandez have advocated in their studio ‘Never Ideological: Endangered Typologies’ for the “manipulation of the image as the primary tool of the architect”. They have even gone so far as to subvert the traditional design process asking students to “follow through the implications of their manipulations into architecture”. I believe this unique relationship to architectural thinking is grounded in their studios’ focus on the suburbs. These sites of interrogation are so vast there is a need to somehow extract meaning from the photographs to start to inform architectural and spatial thinking. Whether this be curitorial or post produced some way, a specific intention can be communicated behind the production of the images that starts to create meaning beyond the objective.
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Fast forward to one of the first gloomy days of the year , a Sunday in early March, beginning to remind us all that summer was over and that uni had recommenced. As I drove towards the site in Pymble I had no idea what to expect, it was close to an hour away from my house and I had very little to do with the suburb before this point. I met up with my group partner at the base of the substation (our given site of intervention) and we wandered along the quiet suburban back streets taking photos of whatever we thought was interesting.
the story we knew we had to tell about this suburb and the evidence we had captured. In this case the adjustment of colours during postproduction was a critical tool for us to build a conceptual framework for the studio. Without this adjustment to reinforce our image there was really no basis for us to start to talk about suburban voyeurism and the idea of ‘the glimpse’. To get into the specifics, saturating the image helped blend the two major elements of the shots; the environment and the built environment. With less distinction between the two due to the muting of colours to tones of grey it allowed for the buildings to camoflauge within the trees.
With our cameras tucked under our jackets the already over cast day produced light showers on and off. We darted in and around residential plots with only a faint trace here and there of human activity. The only excitement was the gentle sway of the trees and the faint buzz of the highway that slowly faded as we headed down the sloping terrain. The further we went the more the landscape began to engulf the built environment, there was something voyeuristic about the suburb as if we could only observe its inhabitants through fleeting glimpses curated by nature. As we emerged near the train station there was more of a liveliness but the strange feelings of isolation, loneliness and tranquility where what stayed with us.
On the surface it would seem this adjustment of colours was / is only miniscule but it was the strength of these photos and the ability to allow the viewer to enter the same space of the image that spawned our whole project. In a sense this treatment of the image, in particular the colours was a key leaping point for most projects in the class. The complicated relationship has been when we try to construct a certain mood through techniques like collage or rendering that unlike our photo study are spaces that do not exist. Getting the balance of colour and saturation just right is a challenge to reinforce the type of architecture we are attempting to propose. Getting this correct for most groups has been a major measure of success in aligning conceptual thinking with architectural design.
There was acertain dissapointment coming home to see the photos that were captured in this sombre moment drowning in vivid, intense and rich colour. They were so brash and in your face, there was a clear disconnect between
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1. Manipulations have evolved into rendered snapshots that remove the need for ‘intent’ 2. Successful image blending photograph with collaged elements beyond 3. Oversaturated greenhouse shot misaligning with overall conceptual approach
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Object of Intention
One way to look at it is through the lense of objectivity. There is a certain truth to what is captured by the photograph and a truth to the offerings of any architecture built or proposed. But through certains tools of photo manipulation (saturation being one of many) there is now an intention behind the image. I think this was an aim of Andrew and Eduard’s when placing the idea of manipulations’ as the driving tool of the studio. To allow the students to make decisions about the type of suburban school and civic architecture they wanted to create. Within this setting, images have greater felxibility to showcase and communicate these ideas.
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THE ISBN BARCODE Reading Room With a Throne By Christine Huang, Angelo Cadalepas
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The ISBN was chosen as a research and archival tool to be investigated because of its reliable methodolgy of identifying and organising information used for our studio’s precedents.
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x x x
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Eu rop ea n Art ic le Num ber
x x
Gr oup
x x x x
Pu b lish er
x x x
T itl e
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Ch e ck Dig it
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The Invention of the ISBN Barcode
standard n u m bering system for books was carried. Two y e a r s later, the Standard Book Numbering (SBN) system was devised and implemented. At the s a m e time, the possibility of utilizing the British SBN for international
Prior to the invention of the ISBN barcode, each book ever sold or displayed in the library required labour-intensive manual forms to be completed and reproduced with information such as the books’ title, author, publisher, etc. It wasn’t until 1965 that W.H. Smith, Great Britain’s largest book retailer, announced plans to move to a computerised warehouse where a
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use was considered. After a meeting held in London in 1968 with representatives from across the world and UNESCO, the International Standard Book Number (ISBN) was approved as an International Organisation for Standardization (ISO) in 1970 and became ISO 2108. The importance of collecting core metadata information has since
then been firmly embedded in the ISBN standard Computerisation was still at its infancy and the ISBN, a short code that could be verified and processed easily by machines, quickly became essential in automated systems used by retailers, libraries and publishers. Since then, it has been a reliable and common language of transaction and has facilitated EPOS (Electronic Point Of Sale) systems since the 1990s.
It is a fundamental data element in the compilation of book-product databases. The original standard of the ISBN has expanded from ten to thirteen digits to increase the capacity of the system and make it identical to its bar-code representation. Yet, the core structure of the ISBN has not changed and is still in use today in more than 150 countries. The ISBN remains abreast of the technological developments and advancements in publishing. In the increasingly modernised and digital world, the capabilities of new tech-
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nologies brings new issues to publishers, such as security options and usage constraints (eg whether the ‘book’ can be lended to someone else or not and if those versions w o u l d c o n tain two unique identifications). As our
search and discovery tools move to the cloud, such standards of the ISBN could lead to new issues during the translation from the physical to digital world. Yet, the ISBN remains to add value to our library systems, irrespective of whether digital or physical, and continues to be used as an informational tool and common language to identify and categorise books, everytime you search, purchase, or lend a book.
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Digital vs Physical Process and Stduio
The use of the ISBN Number has been valuable particularly to the studio, Reading Room With A Throne, as we are given countless precedents throughout this semester of which to study from. Much of our time has been spent in libraries searching for relevant information and lending books. Compared to the digital world of fast information, physical books still contain more reliable and in depth material, such as architects’ drawings and construction details, that you would not be able to find online. The translation of information from the physical to the digital forum is not only apparent in the nature of research and precedent study. We are given the deliverables for finals, 3xA1 drawing panels, a logbook booklet, and a sectional model. However, working under the current climate this semester from home requires us to rethink how we have to present and communicate. In reality, the deliverables are in the form of pdfs, jpgs or other formats that are presented digitally through forums such as Conceptboard or Skype share screen. Hence, the nature of the three dimensional tactile model becomes vastly distinct from the projection on the digital screen. Each having its own separate limitations and advantages, how do we bridge the gap between the physical and virtual space as a communication or research tool, similarly to the way the ISBN has remained germane in its changing history.
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PANORAMA Social Condenser By Sean Choong, Amaia Sanchez Velasco
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Robert Barker, Panorama of Edinburgh 1792
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Immersive Panoptic Performative Panorama
The panorama was among the most astonishing and popular of visual spectacles from the early 1790s through most of the next century. A panorama was a painting – a very big painting – hung on the inside of a specially built circular building. Viewers paid an entrance fee to see it, entering by way of a tunnel and staircase into the very centre of the circle, where they could see a painting that surrounded them on all sides, around 360 degrees. A fence or barrier prevented viewers from getting close to the massive painting, whose top and base were also obscured from view. Depicting landscapes, city views, and battle scenes, the panorama had a distinctive, unprecedented, and utterly unusual effect: it made the viewer feel like they were there. Image of the left paints a successive scenes revealing the lifestyle of all levels of the society from rich to poor as well as different economic activities in rural areas and the city, and offer glimpses of period clothing and architecture. Along the River During the Qingming Festival 71
The word panorama – from the Greek pan (all) and horama (view) – was first used by Robert Barker, an Irish-born painter living in Edinburgh. In 1787, Barker was granted a patent for his invention of an entirely new contrivance or apparatus, for the purpose of displaying views of nature at large, by oil-painting, fresco, water-colours, crayons, or any other mode of painting or drawing. More than just a large painting, the panorama was a carefully controlled experience. Called La nature à coup d’œil (Nature at a glance), was intended, he said, ‘by drawing and painting, to perfect an entire view of any country or situation, as it appears to an observer turning quite round’.
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Diego Rivera’s Detroit Industry
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Staging Political Allegories Process and Studio
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We are to instrumentalize the capacity of social condensers and as a tool to stage and disseminate modes of living, ritual, negotiations, myths and routines, ultimately fostering forms of collective belonging and ideologies. This method of performative panorama brings the studio together in a single image, the concatenation of spaces and events that the project is orchestrating.
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Contributions Editors: Jeffery Blewett , Melanie Gardiner
Content Creators:
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Critical Conceptual Dialogues Benjamin Chen , Grace Mortlock, David Neustein
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Dirty Talk Ivy Geleen Bautista, Miguel Rodriguez-Casellas, Axel De Stampa
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Never Ideological: Endangered Typologies James McNicol, Andrew Daly, Eduard Fernandez
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Reading Room With a Throne Christine Huang, Angelo Cadalepas
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Social Condenser Sean Choong, Amaia Sanchez Velasco
Graphic Team: Valentina Hernรกndez, Tianliao Liu, Hossam Monir
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