Utopia and Reality in Architecture
The University of Melbourne Faculty of Architecture and Design
702613_Production of Digital Space
By: 320534_Gustavo Carezzato
“It is good to remember that Utopia is nothing but the reality of tomorrow and that today’s reality is yesterday’s utopia” Le Corbusier, Modulor
Abstract This project explores the “extremes” in architecture: utopia and reality, nevertheless everything in between regarded technology (digital spaces), procedures and social transition, after the sixties (60’s). Considering that Utopia is in contradiction with reality (Camus, Albert, 1988 Between Hell and Reason), the ideologies that aim to transform or explain the world sometimes forget (intentionally or naively) the contradictions of the practical world. Therefore this article faces Utopia as a place of ideal perfection, which is nothing more than the product of abstract thought (Shaffer, Butler teacher at the Southwestern University School of Law, 30 March 2004).
Furthermore, reality as a concept where there are better and worse ways of accomplishing ends, mindful that in architectural practice the vision of “ideal will be forever up dating” and technology will make easier to materialize any design project.
perspectives community1.
the
building
and
It also refers to digital spaces, designs, study of economics (evaluation of comparative advantages), the costs, benefits from actions, the long and the short terms, the psychological aspect as well the transition of the process. Introduction The high level of technology brings today a new concept of space. Therefore, the design process not just changed but developed better ways of communication and achieved great production’s results. There are software’s such as Rhinoceros©, Autodesk© Revit and Autodesk© 3D Max 2 which represent this evolution. This article describes the design process enhancing the importance of the transitions’ techniques used in the past till the present day. To illustrate that consider three different periods: middle age, modernism and the present day.
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Above all, utopia and reality reflect a process that is a cycle itself. There is no right or wrong. There is just the fact that architecture nowadays is living in a realization period because of the advance of technology, new materials and
of
As an example, there is a short story told by Fernando Pessoa's released as "The Anarchist Banker" which demonstrates the flexibility of the social ideologies among its own supporters, presenting a character that even though he says he is an anarchist in theory and practice, he owns a powerful financial institution: a bank. The apparent paradox is explained in a sophisticated sociological discourse. (book available at: http://www.cfh.ufsc.br/~magno/bancanarco.htm) 2 Software’s features and applications will be explained later on.
The factor which is present at all times is the improvisation in architecture. The difference among them is that today the technology makes it possible, providing a better result. Actually, in many fields, technology appears as a problem solving tool that already changed the way of living for present societies. The future will be based in these societies, and the more people access the digital world (internet, softwares, games, etc), the best will be the development of digital spaces. "In the next few years the struggle will not be between utopia and reality, but between different utopias, each trying to impose itself on reality ... we can no longer hope to save everything, but ... we can at least try to save lives, so that some kind of future, if perhaps not the ideal one, will remain possible." (Albert Camus, Between Hell and Reason)
1.
with access to knowledge and construction skills at the same time. Analyzing Gothic architecture as a remarkable period where cathedrals were monuments of Christianity, built in centuries, imagine the degree of difficulty for those who were actually constructing3. Considering the site, drawings, materials and person in charge, there were no architect or engineer but master builder (craftsmen/architects). There is a book named: The Pillars of the Earth (1989), by Ken Follet4, based in extensive research about the construction of cathedrals in Europe. Follet’s describes how was the representation process for the construction itself related to the social aspects from that time (Image 1). The idea about how technology changes time-space and how it is connect to utopia and reality will be discussed later on in this document.
Transition
To achieve understanding of how digital production is changing the concept of space is important to notice that the representation and visualization process is divided in two aspects: 1. transition of design production from paper to digital; 2. the importance of evolution of technology and the creation of virtual spaces that are so common nowadays; 3. education 1.1.
From paper to digital
Paper itself is not opposed to the digital but against certain design practices that treat both the image and the modes of representation as an unproblematic and neutral transformative space. In the past (medieval period), for instance, the space’s representation was limited to few people
3
Construction of the Gothic church (Cologne cathedral) began in 1248 and took, with interruptions, until 1880 to complete – a period of over 600 years. It is 144.5 meters long, 86.5 m wide and its two towers are 157 m tall (http://www.koelner-dom.de - Cologne Cathedral) 4
Author of The Pillars of the Earth - In a time of civil war, famine and religious strife, there rises a magnificent Cathedral in Kingsbridge. Against this backdrop, lives entwine. At once, this is a sensuous and enduring love story and an epic that shines with the fierce spirit of a passionate age.
Image 1: Representation of design production in 1880s. Ref.: www.http://www.kenfollett.com/pote/illustrations.html
Comparing middle age to Modernist times in architecture, the implementation of new techniques raised significantly the number of people with knowledge based design, resulting in more detailed representations and efficient constructions in much less time. An example for that is the designing and construction process of Brasilia5, (Brazil). At that time Lucio Costa6 and Oscar Niemeyer7 won the contest to build the new capital (Image 2). Because of the complexity of the project, short period to conclude the construction and facing the limitation in communication at that time, the designing team was allocated to the region to work on the representation (drafts) and to control all process. Everything was made line by line, plan by plan, section by section. For instance, to make a project’s alteration was necessary to manage all others drawings one by one8.
5
Brasília is a planned city. It was built in 41 months and was inaugurated on April 21, 1960. The construction of the city was ordered by President Juscelino Kubitschek. The main urban planner was Lúcio Costa and the chief architect of most the public buildings was Oscar Niemeyer. The city plan was based on Le Corbusier ideas (http://www.knowledgerush.com/kr/encyclopedia/Bras%C 3%ADlia/). 6 Lucio Costa (1902/1998) was a pioneer and one of the most important modernist architects in Brazil. 7 Oscar Nyemeyer – Brazilian architect who is considered one of the most important names in international modern architecture. 8 Mastering Revit Architecture 2008 / Tatja Dzambazova/ Greg Demchak / Eddy Krygiel
Image 2: Representation of urban planning from Brasilia, BRA, by Lucio Costa,1956. Ref.: www.http://pessoas.hsw.uol.com.br/brasilia.htm
Then, during the period of 1990 to 1995, considering the implementation of CAD9 in many architectural offices, the space’s representation started changing. It is important to notice that the production and representation played a complementary role. CAD helped in terms of visualization, details and variety of information which transformed the way to see design production. However, still there is paper, drafts and old style architecture. Since that period into the present day, new types of softwares appeared claiming to “help” professionals developing their quality in representation of space. Furthermore, this innovative circumstances were not restricts just to an architectural and engineering proposals but for industries related to education, marketing, media, government, transportation, telecommunications and manufacturing. There is a world leader in 2D and 3D design software for manufacturing known as Autodesk©, that contribute for this market 9
CAD – Computer-Aided Design
with
a
large
number
of
users
(http://usa.autodesk.com/adsk/servlet/index?siteID= 123112&id=5659302).
However, there are limitations to achieve integration with others professionals involved at the production process, because few types of software compete to each other and consequently there is no recognition between them.
materials at the construction site any more (Image 3). Every component arrives on the site already done to be built. One example is the concept of Loblolly House11 that shows an innovative structure involved from design to production.
As an example for that, if there is an architectural office using AutodeskŠ Revit and an engineering office using CAD, they will have to work together using paper as in the past days. Therefore, will be necessary to spend lots of time to coordinate and manage every necessary design alterations. As a result, mistakes are more expressive if compared to the BIM (Building Information Modeling)10 process. Considering more complex projects, there is a necessity of being better in terms of result and agility (connecting all points in charge, such as: owner (client), professionals (architects, consultants, constructors) and providers). There is no need of paper or drafts anymore caused by implementation of BIM. The association of design, manufacturing and production is more connected than ever and it is not essential to manipulate 10
Building Information Modeling results in higher quality work, greater speed and productivity, and lower costs for building industry professionals in the design, construction, and operation of buildings based in three points; A - create and operate on digital databases for collaboration, B manage change throughout those databases so that a change to any part of the database is coordinated in all other parts, C - capture and preserve information for reuse by additional industry-specific applications. (http://www.laiserin.com/features/bim/autodesk_bim.pdf)
Image 3. The wall panels developed and refined within the virtual model. The lower sequence of images shows the same panels fabricated off-site being delivered and installed on the site. (Š Barry Halkin, KieranTimberlake Associates) ref.:
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Loblolly House won the BIM Award citations for both of the categories in which it was submitted: Creating Stellar Architecture Using BIM, which recognizes outstanding quality of architectural design achieved through the use of BIM; and Outstanding Design for Fabrication Using BIM, which looks at how BIM enabled fabrication rules and techniques to be incorporated into the design. (http://www.inhabitat.com/2007/01/05/prefab-friday-loblollyhouse/)
http://www.aecbytes.com/buildingthefuture/2007/ BIM_Awards_Part1.html
As a result of implementation (BIM), some important aspects have been emerged, such as time savings, efficiency, productivity and a new world of possibilities in architecture, engineering and construction production (Image 4). It is the realization of the Utopia’s past and the beginning of a new era of Utopia for the future.
This digital data or digital information acted as a direct influence for the concept emerging of space, realizing the Utopia of being in two places (real and virtual) at same time. A paradigm shift occurred when people started to figure out how best to use the power of computers and the Internet was in order to do things faster and better. In early 80’s, as many new technologies were being introduced to the public, the discipline of Architecture also benefited significantly when an architectural design tools began to be developed. Shortly thereafter, people began to move away from traditional 2D design and closer towards 3D CAD/BIM. Many virtual spaces are available today not just as social communities such as, Facebook© (www.facebook.com/) and Orkut© (www.orkut.com/), but also through internet games like Second Life (http://secondlife.com/) and World of warcraft (www.worldofwarcraft.com).
Image 4. Some views of the completed Loblolly House project. (© Barry Halkin, KieranTimberlake Associates)
1.2
Evolution of technology
The second important issue of that transition is the appearance of many virtual spaces based on a high technology and acceptance from the society. Considering that the first important aspect was the evolution of researching tools and the second, the implementation of the electronic-mail (email); both created a revolution in communication generally. The time was not a barrier any more. People where connected everywhere around the globe, anytime.
Seems that the more society uses technology and appliances, the more devices will be created to develop this new space. It is an attempt to make the virtual looks even more alike the real. Furthermore, there is the tendency from architecture’s schools to upgrade their educational systems in order to prepare future professionals for the unstoppable advance of technology. A variety of books are available and a new era in on line or virtual classrooms from schools12 started to 12
MIT (Massachusetts Institute of Technology) Established in 1865, the Department of Architecture at MIT is the oldest and one of the most highly respected in the United States. Through a program called OpenCourseWare, MIT offers almost all its classes online - for free. Downloads
rise. A whole new world opened up for students, architects and engineers. 1.3 Education Nowadays you can also learn from your desk when it is most convenient for you. This approach reflects virtual events happening across the Internet as companies responding to learner times and shrinking budgets. Moreover, virtual events are enabling participants from around the world to meet and learn all in cyberspace13. Besides that, new methods of education are being evaluated between architects and Autodesk (software company mentioned before) to develop, test and deliver tools that are changing the industry in a positive way while enabling architects to deliver the work faster, better and more affordably. All these inputs helps the software company develop tools that best support the workflow of the design and construction industry. Nevertheless that BIM Education Corporation provides an affiliation of firms and individuals, the collective resources of which will allow the flexibility to offer educational products and services for projects of any size in international markets, and to provide collective benefits to its members.
include lecture notes, assignments, reading lists, and, in some cases, galleries of student projects for more than 100 undergraduate and graduate courses in architecture. MIT also offers some architecture courses in audio and video formats. (http://architecture.about.com/od/schools/tp/freecourses .htm) 13 Cyberspace does not have a standard, objective definition. Instead, it is used to describe the virtual world of computers. (http://www.techterms.com/definition/cyberspace)
The movement and communication across space, from the geographical stretching-out of design production, and the professional experiences currently have been increasing internationalization in the design process. 2.
Improvisation in Architecture
Thinking about improvisation in 14 architecture is actually thinking of a realtime improvisational system employing evolutionary principles for the transformation of space. Improvisation in architecture shows how it is possible to achieve the best quality in production using alternatives design process, based in a high level of technology. But a design process based on graphic computing and advanced visual representations does not necessarily exclude cognitive design processes. Design computing can as well engage in the visualization of abstract aspects of design problems, and the rendering of the relations between those aspects in diagrams. Also structural or compositional issues could as well benefit from graphic design computing. (The Renaissance of Visual Thinking - BIRGER SEVALDSON)
2.1
BIM (Building Integration Modeling)
BIM is the perfect example to visualize and understand more about Utopia, improvisation and reality related to architecture. 14
An improviser thinks about what he is doing at different levels of abstraction simultaneously. Continuously switching between the macro- and micro-levels, he attends to the minute details at one moment, only to switch to structural development a second later (http://www.springerlink.com/content/5t2aea1vly6b422w/)
Building Information Modeling covers geometry, geographic information, spatial relationships, quantities and properties of building components (for example manufacturers' details). It can be used to demonstrate the entire building life cycle including the processes of construction and facility operation. Quantities and shared properties of materials can be extracted, not to mention that specifics situations of work can be isolated and defined. Systems and sequences are able to be shown in a relative scale with the whole facility or group of facilities. BIM is a process which differs from the traditional sequence of drawings in the parametric nature of it and goes far beyond switching to new software. It requires changes of the definition of traditional architectural phases and more data sharing than most architects and engineers are used to. This will reflect on structured text documents such as specifications may be able to be searched and linked to regional, national, and international standards. The system is being responsible to act consistently into project teams, producing reliable information in a common collaborative environment, increasing understanding of design intent, improving efficiency, and showing new ways of working that creates more sustainable design and construction. For instance, integrated project delivery (IPD)15 is an emerging business model in the building industry that allows for the entire extended team to collaborate early in the process to make the most effective decisions together. The IPD process is built on behavior and contractual relationships that are increased 15
IDP - Integrated Project Delivery
by incorporating the technology-based process of BIM. “The time has come for geospatial to take the hand of BIM and move toward the building community and architecture.” (http://vector1media.com/vectorone/?p=349)
2.2. Parametric Modeling Since the 1960s the parametric modeling has been present, but the design production focused on is more common nowadays. This is possible by a high technology level for design production where the time-space has been changing usual characteristics. One example of this: “the team can change geometric features of a building and see how the change affects, say, aerodynamic or acoustic properties. They can explore how complex shapes that are hard to build can be broken down into simpler ones, and they can quickly calculate how much material is needed to estimate the cost. The results are buildings that would have been impossible only a few decades ago, both because their complex shapes were next to impossible to construct and because of the degree to which they exploit science to interact optimally with their 16 environment.”
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Perfect buildings: the maths of modern architecture by Marianne Freiberger. (http://plus.maths.org/issue42/features/foster/)
2.3. Intelligent Materials and Simulations Here the article describes the relationship between Utopia and reality beyond the implementation of intelligent materials and simulations (Image 5) in architectural field. The result of this is a reconfiguration of thinking and producing space as “adaptable, flexible and responsive – in short, a fluid object”17.
Image 5: A model of air currents flowing around the Gherkin. Image © Foster + Partners. (http://plus.maths.org/issue42/features/foster/)
experimenting with computers more than often operate beyond pure rationality. Though, there is a tendency to label and explain what it is made in phrases that seem to be based in rational explanations there is often not any consistency in these explanations. This may be a natural way of working, or it may be a result from an unfinished tentative exploration of the potentials in a relatively new technology. Designers have a lot to learn from electronic artists who have been much more able to accept and explore the imaginative potential in new technologies. A very well known, architect Frank Gehry18 is a visionary professional that is not afraid of improvisation and definitely invests in technology and communication to achieve the results he wants in terms of the realization of an “utopian project”. For many architects such as, Norman Foster19,
2.3. Art and design 18
Looking at creative design computing it is important to deal with certain dogmas that obscure the understanding of what these processes really are. The computer is regarded as a rational tool and what is seen on the screen often is taken as a simulation based on logics. To understand what is going on and take advantage from design computing as a generative technique were parts of the design process are taken out of the designers control and given over to the machine, it is necessary to accept that designers and artists playing and 17
The Zimbabwe Bush Pump: Mechanics of a Fluid Technology – Amrianne de Laet and Annemarie Mol – social studies of science 30/2 (April 2000) 225-63
Frank Gehry was born in Toronto, Ontario, Canada in 1929. His deconstructed architectural style began to emerge in the late 1970s when Gehry, directed by a personal vision of architecture, created collage-like compositions out of found materials. Instead of creating buildings, Gehry creates ad-hoc pieces of functional sculpture. Gehry's architecture has undergone a marked evolution from the plywood and corrugated-metal vernacular of his early works to the distorted but pristine concrete of his later works. However, the works retain a deconstructed aesthetic that fits well with the increasingly disjointed culture to which they belong. (http://www.greatbuildings.com/architects/Frank_Gehry.h tml) 19 Norman Foster: was born in Manchester in 1935. After graduating from Manchester University School of Architecture and City Planning in 1961 he won a Henry Fellowship to Yale University, where he gained a Master’s Degree in Architecture. Since its inception, the practice has received 470 awards and citations for excellence and has won more than 86 international and national competitions. (http://www.fosterandpartners.com/Team/SeniorPartners /11/Default.aspx)
Zara Hadid20 and Rem Koolhaas21 there is no limitation, there is improvisation in the architectural process. Based on the idea of “what separates good design from bad design may be determined more by how people deal with the experience of thrownness and interruption than by the substance of the design itself”22, the article uses the examples below not to determine good or bad design results. To picture the idea of improvisation in architecture, this article mention three projects which is possible to see a new perspective of representing form and space beyond relationship between high technology level and digital space of production.
Image 6: Picture from Guggenheim Museum in Bilbao (http://www.culturefeast.com/frank-gehryand-fetishism-ofform/)
The second relevant example is Vilnius Guggenheim Heritage Museum in Vilnius, Lithuania (Image 7) project by Zaha Hadid.
The first relevant project is The Guggenheim Museum in Bilbao (Image 6), Spain (1992) by Frank Gerhy.
20
Zara Hadid is first woman to win the Pritzker Prize for Architecture in its 26 year history, ZAHA HADID (1950-) has defined a radically new approach to architecture by creating buildings, such as the Rosenthal Center for Contemporary Art in Cincinnati, with multiple perspective points and fragmented geometry to evoke the chaos of modern life.( http://www.designmuseum.org/design/zaha-hadid) 21 A Dutch graduate of the AA School in London, Rem Koolhas is both a rhetorical architect and a creator of real physical buildings. He has been considered a noted Deconstructivist at least since the major MOMA exhibition in New York during 1987 or 1988, although Koolhaas tends perhaps toward the more humanist, less absolute branch of the Deconstructivist School. (http://www.greatbuildings.com/architects/Rem_Koolhaas .html) 22 Managing as Designing: Edited by Richard J. Boland, Jr. and Fred Collopy, Standford Business Books (http://www.sup.org/book.cgi?id=1448)
Image 7: Perspective of Vilnius Guggenheim Heritage Museum (http://www.tuvie.com/guggenheimhermitage-museum-by-zaha-hadid)
The last example is Casa da Musica (Image 8), “Music’s House” free translation from Portuguese to English; Porto, Portugal by Rem Koolhaas.
3.1. Case Study Introduction The 1.8 km long Nordpark Cable Railway, comprised of four new stations (Congress, Loewenhaus, Alpenzoo and Hungerburg) and a cable-stayed suspension bridge over the river Inn, connecting the center of Innsbruck to the top of the mountain in less than half an hour.
Image 8: Casa da Musica by Rem Koolhaas. Photo © Christian Richters (http://archrecord.construction.com/projects/portfo lio/archives/0507oporto.asp)
The design for each station adapts to the specific site conditions at various altitudes, whilst maintaining the coherent overall architectural language of fluidity. This approach was critical to the design for the railway, and demonstrates the seamless morphology of Hadid’s most recent architecture.
3. Case Study
The project’s result gave the mention of Zaha Hadid on The World’s 50 Most Innovative Companies by SOM23
To explore this idea about time and design’s production using a digital space, this article will describe the design project of Nordpark Cable Railway (Image 9), by Zaha Hadid.
(http://www.archdaily.com/?s=Nordpark+Cable+Rail way).
3.2. Description Total roof structure area (all stations inclusive): 2,500 square meters Client: inkb (innsbrucker nordkettenbahnen gmbh) Architect: Zaha Hadid Architects Design: Zaha Hadid with Patrik Schumacher Project Architect: Thomas Vietzke Design Team: Jens Borstelmann and Markus Planteu
Image 9: Congress Station by Thomas Mayer (http://archrecord.construction.com/projects/portfo lio/archives/0805nordpark-1.asp)
23
SOM: Skidmore, Owings & Merrill (http://www.som.com/content.cfm/www_home)
Production Team: Caroline Andersen, Makakrai Suthadarat, Marcela Spadaro, Anneka Wagener, Adriano di Gionnis, Peter Pichler, Susann Berggren Local Partner: Malojer Baumanagement GmbH
*Longitudinal Section Congress Station by Zaha Hadid Architects
Planning Adviser: ILF Beratende Ingenieure ZT Contractor: Strabag AG Engines & Cables Contractor: Leitner GmbH Facade Contractor: Pagitz Metalltechnik GmbH Structural Engineers (concrete Baumann & Obholzer Ziviltechniker
base):
Structural Engineers (roof structure): Bollinger Grohmann Schneider ZT Bridge/Track Engineer: Ingenieure ZT
ILF
Beratende
*Congress Station - Photo: Thomas Mayer *Drawing: Zaha Hadid Architects - Site Plan
*Rendering Zaha Hadid Architects Congress Station
*Rendering Zaha Hadid Architects Loewenhaus Station
*Longitudinal Section Loewenhaus Station by Zaha Hadid Architects
*Loewenhaus Station - Photo: Thomas Mayer
*Alpenzoo Station - Photo: Thomas Mayer
*Rendering Zaha Hadid Architects Hungerburg Station
*Rendering Zaha Hadid Architects Alpenzoo Station
*Longitudinal Section Hungerburg Station by Zaha Hadid Architects
but throughout the time between Utopia and reality. Based on high technology level, between design production, space production and materials, Utopia and reality now are more connected than ever and time-space between both is smaller each day. *Hungerburg Station - Photo: Thomas Mayer *Images, renderings and drawings are from arcspace.com (http://www.arcspace.com/architects/hadid/nordpa rk/nordpark.html)
4. Conclusion
The incorporation of high technology to the daily life of society becomes transparent to our activities, so that rarely, it is possible to realize how much the technology has been defined several changes of paradigm of different aspects in society. In this sense, mentioned as an example the emergence of a redefinition of time-space in architecture practice enabled by the migration from information on the paper to the digital environment (computer). A parallel between this change and other possible changes quietly, focusing on question the practice of contemporary architecture which is experiencing a profound - and possibly silent - change of paradigms, based on intensive use of digital technology now no longer only in the stage of development of projects in architecture,
References:
http://www.som.com/content.cfm/www_home
KIEFERLE, J. et al. 2006. Interactive Simulation of architecture in Virtual Environments. In: V. BOURDAKIS e D. CHARITOS (eds), Proceedings of the 24th Conference on Education in Computer Aided Architectural Design in Europe 2006. Volos, Greece.
arch daily
KOLAREVIC, B. 2003. Architecture in the digital age: design and manufacturing. New York, Spon Press, 313p.
http://www.archdaily.com/?s=Nordpark+Cable+Rail way
MIMOA – mi modern architecture http://www.mimoa.eu/projects/Austria/Innsbruck/N ordpark%20Cable%20Railway
World Building Directory
MITCHEL, W.J. 2005. Constructing Complexity. In: B.
http://www.worldbuildingsdirectory.com/project.cf m?id=48
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archiDE
MITCHELL, W.J. 1996. City of Bits, space, place, and the infoban. Cambridge, The MIT Press, 225 p.
Sites: EACbytes 2007 Third Annual BIM Awards, Part 1 http://www.aecbytes.com/buildingthefuture/2007/ BIM_Awards_Part1.html
Plus Magazine ‌ living mathematics http://plus.maths.org/issue42/features/foster/
Great Buildings http://www.greatbuildings.com/architects/Frank_Ge hry.html
Foster + Partners http://www.fosterandpartners.com/Team/SeniorPar tners/11/Default.aspx
Tuvie Design of the Future http://www.tuvie.com/guggenheim-hermitagemuseum-by-zaha-hadid
arcspace.com (http://www.arcspace.com/architects/hadid/nordpa rk/nordpark.html)
SOM.com
http://archide.wordpress.com/2009/02/16/nordpar k-cable-railway-by-zaha-hadid-architects-austria/
Architectural Record http://archrecord.construction.com/projects/portfol io/archives/0805nordpark-1.asp http://archrecord.construction.com/projects/portfol io/archives/0507oporto.asp
guardian.ca.uk http://www.guardian.co.uk/travel/gallery/2007/dec/ 03/architecture.railtravel?picture=331434481