architecture folio 2016

Architecture P

ortfolio2016

Rebecca D. Mahoney

Masters Design Studio OneArchives For Endangered Ideas

2-3

4-11

12-19

20-27

28-37

KAIT WORKSHOP

WALL DRAWING 173

THE AGENCY OF MAPPING

INTRO

ARCHIVING

Arguably, critical and conceptual ideas are dying in the contemporary context. In a world over-saturated with material and images, deep and complex ideas are over-looked, or worse, reduced to stylised appropriation. This studio seeks to develop a methodology to generate process based outcomes which preserve, reflect and strengthen these endangered ideas.

Using the programmatic context of an archive, students try encapsulate selected precedent work of architects, artists and writers, through a critical process of explo-ration. A new working methodology, the ‘One and Three’ relational method will be tested. This method seeks to explore and synthesise three fundamental forms of articulation; language, visual and spatial.

These archives will highlight the use of trans-disciplinary reference material as both content for, and development of architectural outcomes. Further the studio seeks to re-establish the relevance of architectural and art theory, history and precedent in the contemporary design process and practice.

KAIT WORKSHOPKANGAWA INSTITUTE OF TECHNOLOGY2008JUNYA ISHIGAMI 21,410 M2

The room is not directional. Manifested as an assortment of unstably fluctuating spac-es. There are many routes. Spaces are defined by the user. Different heights define spaces. The grid does not dictate flow. There are fuzzy and ambiguous boundaries between spaces. Many columns give the impression. Spaces can come about not necessarily by the varying subjective views. Landscape designs the space. They walk around disregarding the position of the pillars. The space is regenerated each time like the growth of a forest. Thus rewriting the structure of the building each time. But sometimes with clear objectivity. Circulation is dependent. The way in which we perceive spaces can be linked directly. By and large people follow the same routes all the time. A circulation path of certain stability is revealed. Are spaces formed by pillars? Uncertainty in the design of the building. Create an uncertain state in which the true nature of things is impossible to grasp. There was a coexistence of uniform placement with non-uniform orientation. Due to the lack of continuity of shape and layout. Different behaviors arise depending on the direction one is facing

11

Large scale pavilions undulating across a landscape with no distinct route or trail to follow. The structures weave the user within and without.

SOL LEWITTWALL DRAWING #1731973“LINES FROM FOUR CORNES AND MIDPOINTS OF FOUR SIDES TO-WARDS THE CENTRE OF THE WALL”CRAYON ON WALL

Lewitt created art through collaboration, for him concept outweighed the physicalisa-tion of the art and the idea became the machine that drives the art whilst the art itself remains emotionally and unengaging to the eye. He would write instructions for the art, for them to be carried out by someone else. The physical form of the space are ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’

16

2 0 . Success-

ful art changes our

understanding of the conventions by altering

our perceptions.21. Perception of ideas leads to

new ideas.22. The artist cannot imagine his art, and

cannot perceive it until it is complete.

18. O n e

u s u a l l y understands

the art of the past by applying

the convention of the present,

t h u sm i s u n d e r -

standing the art of the

p a s t .19. The

conven-tions of

art are a l -

t e r ed

b y w

12. F o r e a c h work of art that becomes physical there are many variations that do not.13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may neverreach the viewer, or it may never leave the artist's mind.14. The words of one artist to another may induce an idea chain, if they share the same c o n c e p t .

9 . The concept and idea are

di�erent. The former implies a general direction while

the latter is thecomponent. Ideas

i m p l e m e n t t h e

c o n -ce

7.

The a r t -

i s t ' s will is

s e c -ondary

to the process

h e i n i t i a t e s

from idea t o

completion. His wilfulness

may only bee g o .

4 .

Formal art is e s s e n -t i a l l y r a t i o n a l .

5. Irrational thoughts should be followed absolutely and logically.6. If the artist changes his mind midway through the execu-tion of the piece he compromises the result andrepeats past results.

2 . R a -

t i o n a l j u d g e -

ments repeat rational judge-m e n t s .

1. Conceptual artists are mystics

rather than rationalists. They leap to conclusions

that logic cannot reach.

2 5 . T h e a r t i s t may not n e c e s s a r i l y understand his own art. His perception is neither better nor worse than thato f others .

27. The con-c e p t of a w o r k of art m a y i n v o l v e t h e matter of the piece or the process in which it is m a d e .

23. The artist may

m i s p e r c e i v e (understand it

di�erently from the artist) a work of art but still be set o� in

h i sown chain of thought by

that misconstrual.24. Perception is

s u b j e c t i v e .25. The artist may

not necessarily understand his

own art. His perception

is neither better

n o r wo

r

26. An artist m a y p e r c e i v e the art of o t h e r s b e t t e r t h a n h i s o w n .n w hic h i t is

2 8 . O n c e

the idea of the

piece is established in

the artist's mind and the �nal form is

decided, the process i scarried out blindly.

There are many side e�ects that the

artist cannot imagine.

T h e se

29. The process is mechanical and should not be tampered with. It should run its course.

3. Irra-tional judgements lead to new expe-ri-

16. If

words are used, and

they proceed from ideas about

art, then they are art and not literature;

numbers arenot mathematics.

15. Since no form is

intrinsically superior to another, the

artist may use any form, from an

expression of words

(written or spoken)

to physi-

cal re-

al

1 7 . A l l

i d e a s are art

if they a r e

concerned with art and

fall within the conventions of

a r t .18. One usually

understands the art of the past

by applying t h e

c o n v e n -tion of

t h e pres-

ent,

10. Ideas

can be works of

art; they are in a chain of

development that may eventually �nd

some form. Allideas need not be made

p h y s i c a l .11. Ideas do not necessarily

proceed in logical order. They may set one o� in

unexpected directions, but an

idea must necessarily be

completed in the

m i n d b e

8 .

When w o r d s

such as p a i n t i n g

and sculpture are used, they

connote a whole tradition and imply

aconsequent acceptance

of this tradition, thus placing limitations on the

artist who would be reluctant t o

make art that goes beyond the l i m i t a t i o n s .

2 0 . Success-

ful art changes our

understanding of the conventions by altering

our perceptions.21. Perception of ideas leads to

new ideas.22. The artist cannot imagine his art, and

cannot perceive it until it is complete.

18. O n e

u s u a l l y understands

the art of the past by applying

the convention of the present,

t h u sm i s u n d e r -

standing the art of the

p a s t .19. The

conven-tions of

art are a l -

t e r ed

b y w

12. F o r e a c h work of art that becomes physical there are many variations that do not.13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may neverreach the viewer, or it may never leave the artist's mind.14. The words of one artist to another may induce an idea chain, if they share the same c o n c e p t .

9 . The concept and idea are

di�erent. The former implies a general direction while

the latter is thecomponent. Ideas

i m p l e m e n t t h e

c o n -ce

7.

The a r t -

i s t ' s will is

s e c -ondary

to the process

h e i n i t i a t e s

from idea t o

completion. His wilfulness

may only bee g o .

4 .

Formal art is e s s e n -t i a l l y r a t i o n a l .

5. Irrational thoughts should be followed absolutely and logically.6. If the artist changes his mind midway through the execu-tion of the piece he compromises the result andrepeats past results.

2 . R a -

t i o n a l j u d g e -

ments repeat rational judge-m e n t s .

1. Conceptual artists are mystics

rather than rationalists. They leap to conclusions

that logic cannot reach.

2 5 . T h e a r t i s t may not n e c e s s a r i l y understand his own art. His perception is neither better nor worse than thato f others .

27. The con-c e p t of a w o r k of art m a y i n v o l v e t h e matter of the piece or the process in which it is m a d e .

23. The artist may

m i s p e r c e i v e (understand it

di�erently from the artist) a work of art but still be set o� in

h i sown chain of thought by

that misconstrual.24. Perception is

s u b j e c t i v e .25. The artist may

not necessarily understand his

own art. His perception

is neither better

n o r wo

r

26. An artist m a y p e r c e i v e the art of o t h e r s b e t t e r t h a n h i s o w n .n wh ic h i t is

2 8 . O n c e

the idea of the

piece is established in

the artist's mind and the �nal form is

decided, the process i scarried out blindly.

There are many side e�ects that the

artist cannot imagine.

T h e se

29. The process is mechanical and should not be tampered with. It should run its course.

3. Irra-tional judgements lead to new expe-ri-

16. If

words are used, and

they proceed from ideas about

art, then they are art and not literature;

numbers arenot mathematics.

15. Since no form is

intrinsically superior to another, the

artist may use any form, from an

expression of words

(written or spoken)

to physi-

cal re-

al

1 7 . A l l

i d e a s are art

if they a r e

concerned with art and

fall within the conventions of

a r t .18. One usually

understands the art of the past

by applying t h e

c o n v e n -tion of

t h e pres-

ent,

10. Ideas

can be works of

art; they are in a chain of

development that may eventually �nd

some form. Allideas need not be made

p h y s i c a l .11. Ideas do not necessarily

proceed in logical order. They may set one o� in

unexpected directions, but an

idea must necessarily be

completed in the

m i n d b e

8 .

When w o r d s

such as p a i n t i n g

and sculpture are used, they

connote a whole tradition and imply

aconsequent acceptance

of this tradition, thus placing limitations on the

artist who would be reluctant t o

make art that goes beyond the l i m i t a t i o n s .

This Sol Lewitt space is a system of joints and connectors given to the visitor, they can assemble the joints into the prescribed cubic formation, or they can create any space they desire. Without the users the space doesn’t exist.

21

The Agency of MappingJames Corner1999Drift/ Rhizome/ Game Board/ Layering

27

A library made of four sections each referencing the chapters of Corner’s text.

Archiving

vLewitt’s work on the island is interpreted to use his ideas and instructions for art to guide, inform and dictate the users experience and tour of the island. Once the users arrive at the island they are faced with a choice of 1 of 9 instructions by Lewitt which will begin their journey through the island by placing them on a corresponding path-way that tracks across the island. They are given a GPS tracker and the instructions to be tracked as they move, they can use the instructions to create the intended art work on a huge scale across the island… or not. The physical form of the walkways is ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’. Lewitt and his instructions to be the building blocks and scaffolding for his collabo-rative art, which is here physically manifested as simple scaffold across the island whose layout is dictated by wall drawing 289, called the location drawing, appropri-ate in that it was one of his few drawings that specified a start point by no defined end point was given rather the end of the route was subjective to the artist and their will.

34

Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the

artist cannot imagine. These may be used as ideas for new works.-Sol Lewitt

WALK A(d) TURN B°

WALK C(d)

WALK G (d)

WALK M (d)

FIND (i)

TURN H°

FIND E

WALK F (d)

The Kait workshop by Junya Ishigami is a space created from landscape and not from section and composition. It’s a creation of spaces within space that have no standard orientation, they are relationally defined, seeking out the ambiguous and undefined. The first chapter of Ishigami’s book another scale of architecture discuss-es the Kait workshop and forest, the following are concerned with sky, cloud, hori-zon and rain. All these chapters have been physicalized into corresponding gallery spaces. The gallery here is a non-directional space whose floor plate has pushed and pulled relative to the arrangement of columns in the Kati workshop to create a miniaturised topographical space using different heights to define spaces and paths cresting ‘animal trails’ throughout The gallery displays the hundreds of models for kait as well as the pages of the forest chapter. Each gallery displays its respective model or work and chapter pages too

‘People trace a winding path for some reason, despite being able to walk straight if they wish. Spaces are born out of the relationship between architecture and non-ar-

chitectural elements’’-Junya Ishigami

Landscape designs the space. Users walk around disredarding the position thus rewriting the spatial structure of the building each time. Circulation is dependent.

CHAPTER ONEFOREST

MODELS 1-50MODELS 50-100

MODELS 150-200MODELS 250-300

MODELS 300-350

Finally I have created a library archive that is an exploration of mapping derived from James corner’s 1999 text the agency of mapping. The text and this building explore realities previously unseen or unimagined, shown through selection, omission, iso-lation, distance and codification. The location of the archive is away from the other spaces and walk ways, but is designed to be the end point of the user’s journey in that the Lewitt instructions are guided towards it and from high points on the island it reveals itself. I started my analysis of the text by colour coding, highlighting and overlapping five main aspects of the text, being idea (mapping), action, precedent, outcome and the antithesis of the idea. Once overlapped and interconnected these elements of the text defined my plan and helped organise internal program. Mapping was physically represented as smaller vaults within the whole that housed corners own maps, writ-ing and works. There are large gallery spaces to show the work of influential map makers and writers such as Mercator and Buckminster fuller. The rest of the works are stored as texts of the precedents arranged by their physical location within the overlaid text. The space is punctured by large void walls which represents the an-tithesis that corner continually references, it is how not to map and what mapping should avoidThe final space set apart from the main archive is the ‘live mapping’ room, this room is the connector to the rest of the island and its precedents. It is a room that collects and projects the information from each users GPS system that they were given upon arrival. The maps in this room display how the user has traversed the site.

‘‘The function of mapping is less to mirror reality than to engender the reshaping of the world in which we live’’

- James Corner

Realities previously unseen or unimagined are uncovered here through the selection, omission, isolation, distance and codification.

EXHIBIT

VOID

VAULT

Undergraduate Final Year StudiosParametric design and capstone studio

52-67

68-75

76-87

ARCHIVE DESIGN

GALLERY DESIGN

PARAMETRIC DESIGN

PARAMETRIC EXPLORATIONS

MODEL PROTOTYPING

Designed for the European capital city Copenhagen, this project aimed to create an engaging and visually aesthetic form that generates on-site renewable energy. My project is the result of generative design in parametrics and computation, tak-ing a set of parameters relevant to site and design style and creating a viable form. I created a series of greenhouses of different forms that are paramet-rically derived and site responsive to Copenhagen’s solar patterns. Each greenhouse has a different type of ecosystem on display, this will attract users to the site and help educate about the possibilities and beauty of renewable energies

D C

ENERGY EFFICIENCY DIAGRAMS

2000 KWhProduced anually by the

Swiss Tech convention centre with 355 active solar panels on the west facade

240 Inhabitants worth of elec-tricity will be offset anually.

equivalent to 60 four person households

163,200 Kg of carbon dioxide will be anually offset by our

green house

306,892 KwhProduced onsite by green-house’se 2000 active solar

panels

ANNUAL SOLAR PATHS

JANUARY APRIL AUGUST DECEMBER

JANUARY APRIL AUGUST DECEMBER 2200 Kwh/ m²

913 Kwh/ m²

570 Kwh/ m²

228 Kwh/ m²

SOLAR OUTPUT

NORTH GREENHOUSETropical and exotic plant types

SOUTH GREENHOUSENative forest and fir tree types

EAST GREENHOUSENorthern European flower

typesWEST GREENHOUSE

Vegetable garden and home planting greenhouse

TOURISTS

FAMILIES

BOTANY ENTHUSIASTS

CHILL SEEKERS

EDUCATIONAL GROUPS

NORMAL PEOPLE

HOME GROWN VEGETABLE FANS

ANNUAL SOLAR PATHS

USERS

GREEN HOUSE TYPES

GREENHOUSES

VEGETATION

CIRCULATION PATHS

ACCESS PATHS

EXPLODED AXO

SOUTH ELEVATION

NORTH ELEVATION

EAST ELEVATIONWEST ELEVATION

1

1

2

3

4

2

3

41:100

PINE TREE GREEN HOUSE

WEST EXTERIOR

CIRCULATION SPACES

JUNGLE GREENHOUSE

3700 MM

5400 MM

1:50 SCALE

0 200 CM

3700 mm

ALUMINIUM CHANNEL FOR WIRING

ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT

HOLLOW ALUMINIUM SECTION FOR WIRING

0 50 100 CM

ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT

STEEL HOLLOW SECTION SUPPORT ARCH

C- CHANNEL FOR GLASS CLEANING AND MAINTAINANCE

SCALE MODELS

JOHN MCCRACEN‘FAIR’

PLANAR SURFACES INTERSECTION OF PLANES

The aim of this project has been to design a new building for the University of Melbourne Ar-chives, currently housed in a rather uninspiring-looking warehouse in Brunswick West. Starting with sculpture, I strove to create a space of simplicity and sparseness, emphasised by the phenomenology created through planarity and void. The archives here become a space that gives back to the community in that it has reintroduced public green space into Brunswick.

RECEPTION + LIBRARY

ENTRANCE GALLERY

OUTDOOR CINEMA

ROOFTOP GARDEN

AXONOMETRICSCALE 1:250

WALL EXTRUSION

1 CM PVC PIPING

MOISTURE MEMBRANE

DRIP IRRIGATION

POLYMIDE FELT POCKETS

VERTICAL GARDEN CONSTRUCTION DETAIL

SCALE MODELS

The Outré Gallery is self described as “Australia’s original alternative gallery dealing in con-temporary international pop, lowbrow, pop surrealism and underground art”. This pro-ject looks at creating a new gallery and multi purpose space for the business, includ-ing a cafe and book store. I aimed to look at new relationships between retail spaces by varying the amount of opacity and transparency in a space. I wanted to explore the phenomenol-ogy that comes from visible invisible and opaque through layered surfaces, patterns and textures.

OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY

TRANSFORMATION OF CONVENTIONAL STORE SPACES SECTIONING OF SPACES REMOVAL OF SPACIAL HEIRARCHIES

OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY

TRANSFORMATION OF CONVENTIONAL STORE SPACES SECTIONING OF SPACES REMOVAL OF SPACIAL HEIRARCHIES

OVERLAID TRANSPARENCY TO CREATE DEPTH AND OPACITY

TRANSFORMATION OF CONVENTIONAL RETAIL SPACES SECTIONING SPACES REARRANGEMENT OF SPACES

UP

UP

38 m

GROUND FLOOR CAFE+ BOOK STORE

BOOK STORE MEZZANINE

FIRST FLOORGALLERY

UP

UP

UP

STAFF OFFICE+ LUNCH ROOM

SECOND FLOORGALLERY

DN

DN

THIRD FLOORGALLERY

MANAGERS APARTMENT

30006000

900

400

BESPOKE GALLERY COUNTER DESIGN+ ELEVATION

SIGNAGE

OUTDOOR SEATING

ARTWORK DISPLAY

GALLERY HANGERS

GALLERY DISPLAY

BOOK STORE

CAFE

ENTRANCE

CAFE OUTDOOR

Hong Kong/ Shenzhen Urbanism and Architecture Biennale 2015-2016

In January 2016 I travelled to Hong Kong and Shenzhen to partici-pate in the HK/SHZ urbanism and architecture Biennale with a group of 25 other students from the Melbourne School of Design. Along with fellow student Hana Nihill, we created a graphic exhibition that was an exploation into the urban villae phenomena in Shenzhen as a speculative piece that explored the future potential of the unregulat-ed villages in the face of a decreasing chinese GDP and what this means for the mostly migrant workers that call these villages home.

1980 | Bao’on

6700 BC

1573

1953

1980

1938

Xin’an County- Spice Route

Zanue Tribe Base Japanese Occupation

Kowloon Railway Connection

The influx of migrant labour from different

regions in China have led to a rapid increase

of the demand for Low-rent housing in

urban villages particularly. This

market-driven factor, to varying degrees, has

triggered a large scale of housing expansions.

The regulated public spaces between

buildings have decreased from 8

metre and 3 metre to less than 1 metre;

building heights have increased to over 10

storeys, ratio plot from 1.3 to 4.

1990 | The Special Economic Zone

‘80 ‘12

Legal Residents

Illegal

HukouMigrant

Expat

"The scope, speed and scale of transformation

both from a social point of view, and from a

geographical point of view, is quite

unprecedented in human history" said Du.

With an original population of 30,000,

Shenzhen's official population was 12

million in 2005, making the demographic 99% migrants. There is no

easy way to capture the amount of traffic into and

out of the city; the population is never

static, or consistently calculated in official

documents. Du believes that the 22 million active SIM cards registered in

Shenzhen now may well be the most accurate

description of the volume of people and

activities observed in the city today.

Shenzhen, historically called "Bao'on", a

territory of treasured peace was known for its tranquil beauty. In 1979,

Deng Xiaoping established Special

Economic Zones (SEZs) in the Pearl River Delta region, with Shenzhen

being one of the zones, set up under common policies, receiving the

same economic treatments with its

peers. Shenzhen soon stood out among the

SEZs not solely due to the growth in its

population or economy, but also due to the

amount of constructed landscape that totally

changed the geography of the region.

2000 | Expanding City

Land lords were often to charge a premium for their land and tenancies, creating a class of well to do villagerd who often left the urban village for gated communities

I graduated from Sichuan Music and Art

College. Having worked as a designer in the

advertising industry, I started to feel bored, so I sold my business and

moved to Dafen in Shenzhen to seek a

new life. Unfortunately due to the financial

crisis I could not find a job in Dafen Village. I relied on my family to support me. I felt so ashamed of having

made the decision to move to Dafen.

Eventually, I found a job in an electronics factory with a monthly salary of 900 RMB. In my spare time I started to paint,

but my landlord disliked the smell of oil painting. I was forced to move into

a dormitory in the factory. After Chinese

New Year in 2010 I resigned from the

factory and rented a small exhibition area in

Dafen. It is about 2 square meters and

costs 500RMB each month. Since then I

have started painting again. So I am now a

painter in Dafen.

“I have been living in this house for two years,

since I came to Shenzhen with my

sister. For half a year, we operated a food stall

selling fried food. One day, my sister told me that she was dating a

local man. So she moved out of the house,

found a new job, and started a new life. Now I live with somebody from my hometown. Besides

selling fried food, we also do delivery jobs. I am trying to save 50,

000RMB. Then I will go back to my hometown

and open a small restaurant. life is not that

desirable here.”

2010 | Life and Work in the Migrant City

10,000+

10,000+

10,000+

5,000-10,000 1,000-5,000

1,000-5,000

“In an urban milieu where context and the genius loci of a place

have become subsidiary to economic

and political considerations,

reducing architecture to predetermined

programmes and their formal manifestation,

the act of binding architecture into the

story of its inhabitants can bring a new

relevancy to the built environment, projecting,

but not predicating the rules of its occupation.”

_AD: Drawing Architecture 2013

However, the increase of multiple cultures and

different regions of people have largely

increased the community lifestyles

within the villages. While some might reckon that

urban villages are densified and vulgar, others, on the other

hand, tend to regard this as a typical urban

village culture which enables the residents to

enjoy a busy and lively atmosphere among the

modern CBD area.

The creation of the floation popu.ation was

triggered by the increasingly larger

urban-rural income gap, which has developed since the mid 1980s.

Hundreds of millions of rural migrants have left

thier homes for cities for job opportunities and

better lives, resulting ain a huge labour

pool in urban areas.As they circulate among

jobs in different cities, rural migrants barey

have a chance to obtain hukou. Consequently

they are overlooked and excluded.

Pu Hao 2012 Utertcht University

In 2004, the average floor area ratio and

built-up density of urban villages in Shenzhen was 1.13 and 35%

respectively, indicating that urban villages were

much denser than the overall built-up area of

the city. The construction intensities

between the Special Economic Zone and the

non SEZ were significantly different.

With houses generally above six storeys, the

average floor area ratio of urban villages in the SEZ was 2.7 and the

average floor space of a single building was 506

m sq. However with much lower buildings, the floor area ratios of urban villahes outside the SEZ was only 1.0 and the average floor

space was 275 m sq. Pu Hao 2012 Utertcht University

2016+ | Demographics

5%

17%

13%

<2%

17%

“Jitters emanating from China’s equity and

currency markets have exposed widespread

fears that the way ahead will be rocky indeed- and

that Mr Xi and his colleagues are

ill-equipped to navigate it.”

_The Economist Jan 2016

“The problem is thus not an economic one per

se. It is that a government once widely thought of as all powerful -even over markets- may

be losing its grip.”

_The Economist Jan 2016

“Computer-aided design technology has

advanced rapidly in the past two decades and is

now widely adopted by architects. Today, digital

models can be produced faster and cheaper than

physical ones. despite being represented on a

flat screen, the digital model appears to be

three-dimensonal since it can be rotate, moved and navigated in real

time. Furthermore it can be be rendered to

produce photo-realistic still images. With these

qualities, the digital model has undermined

the primacy of the physical model as a

represetational device. At the same time, it has also

largely replaced the working model, as it is easy to edit and thus even more suited for

quick itterative design exploration than its

physical counterpart.”

“If robots are to be employed in he

construction of high-rise structures, logistics and

material systems have to be entirely rethought to

cater for both their abilities and limitations:

robots have limited loading capacity, but greater dexterity than

other on-site, automated construction techniques.”

_AD: Made By Robots, 2013

architecture folio 2016

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