Introduction Representation is one of the significant aspects in the field of architecture. Represen-tation will help the architect or designer visualize their thoughts and imagination. There are numerous examples of when a good design fails for the reason that the architect does not represent it successfully. In the past, architects used traditional methods of drawing (hand drawing, watercolor, and similar others) in order to represent their ideas. However, the emer-gence of architectural software such as AutoCAD in the mid-eighties started to change the methodology of design representation. It not only revolutionized the way architects design and visualize, but also incorporated itself into the final outcome of architecture itself, which is the building. Nowadays, digital software becomes a necessity in every architectural project. This essay will investigate the role of digital representation in architecture. It will focus on three main points: the metamorphosis of design representation, the benefits of digital representation in architecture, and the roles of the architect in the digital architecture.

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The Role of Digital Representation in Architecture by: Hizkia Irwanto Gouw (378785) Contemporary Digital Practice ABPL 90149 Lecturer: Bharat Dave

Interior view of the Serpentine Pavilion designed by Álvaro Siza and EduardoSouto de Moura together with Cecil Balmond of Arup and Partners, London, 2005.

geometry of each element was digitally defined by Arup’sAdvanced Geometry Unit and mapped out in a format thatcould directly communicate with Finnforest Merk’s CAD/CAM

engineers. Using robot technology the required 427 uniquetimber beams could be manufactured within two weeks.Starting at one corner and radiating out to the opposite sides,the subsequent assembly process of the lattice also required aspecific protocol defining the only possible erection sequencefor the unique interlocking beams.

Today, with digital production and continuous datasetscomprising a practical approach rather than an idealised aim,the production of geometrically complex buildings andbuilding systems from differentiated components appears atangible, as well as feasible, proposition. Overall, the mostrelevant consideration for now is the relation betweenexisting skills and tools and emerging techniques andtechnologies. The work of the leading manufacturingcompanies suggests that the transfer and integration of CAM inthe field of construction requires the development of newproduction approaches in parallel with an understanding of

traditional means and skills. In fact, CAD/CAM technology maybecome a mechanism through which the potential of existingexpertise and methods is fully realised. The projects andprocesses that have been presented here indicate that thecritical moment of integrating existing and emergingmanufacturing techniques and technologies provides theinroad into an understanding of the yet uncovered potentialof new means of digital production. This moment of synthesisand synergy will be the vehicle for rethinking in the necessaryand latent redefinition of the construction process itself. 4

This article is based on an indepth research into the current possibilities and futureperspectives of fully integrated computer-aided design and manufacturing. As partof this exploration, Achim Menges and Michael Hensel visited specialistmanufacturing companies and their facilities in Germany to investigate anddiscuss the latest computer-controlled fabrication processes. Following this fieldtrip, the Emergence and Design Group organised the symposium entitled‘Manufacturing Diversity’, with representatives of the key companies at theArchitectural Association in February 2005. The article reports on the work andprojects presented by Dirk Emmer (Skyspan, Germany), Benoit Fauchon (Covertex,Germany), Michael Keller (Finnforest Merk, Germany), Thomas Spitzer (Seele,Germany) and Dr Karel Vollers representing Professor Mick Eekhout (Octatube, theNetherlands).

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Figure 1. One of the example of digital representation.

The Metamorphosis of Design Representation

In order to analyze the role of digital representation, it is worthwhile to first understand the metamor-

phosis of design representation. In 1961, Ivan Sutherland invented the first computer graphic interface called

Sketchpad. The aim of Sketchpad was to develop a visual interface between computers and human, which

could communicate the architect’s imagination using machine language (As & Schodek 2008, p. 135). Then, it

was followed by the creation of AutoCAD in 1984. Both of these inventions were made to help architects pro-

duce their work. They could produce repetitive drawings, or make small adjustments and changes when they

need it, which otherwise would be a painful task to do it directly in a drafting board.

Then, maybe there will be a question: if the software was already developed in 60’s, why did it is only

spread rapidly in the last two decades? Malcolm McCullough, in his book Abstracting Craft: the Practiced Digi-

tal Hand, answered these question in three points. First, the price of computer technologies has decreased,

and has become much more affordable (McCullough 1996, p. 28). In the past only architectural companies

can afford them due to its size and complexity. Nowadays, individuals or even architecture students can afford

them. The second reason is because the improvement of human computer interfaces technology (McCullough

1996, p. 28). There is more flexibility in the current architectural software, from a 2D static movement to more

excessive 3D form of exploration. The last one is a “growing appreciation of new abstraction” (McCullough

1996, p. 28). The transformation from a drafting board to a computer screen is not an instant change. In the

past, people see the digital representation as an abstract or conceptual idea that is not workable. However,

nowadays, by looking at Frank Gehry’s or Zaha Hadid’s works, people can understand that an abstraction in

digital media could be realized in a real project.

“Representations of reality are abstraction.” -Jennifer Whyte- (2002, p. 29)

In terms of historical aspect, design representation has been showed in different techniques and ap-

proaches. At first, there was a Beaux-Arts tradition that worshipped beautiful drawings; they extensively pre-

sented the value of colour, texture, light and shadow in their drawings. Then, it was followed by modernism

that diminished all those values and focused more on pure geometry such as clean and straight lines (As &

Schodek, p. 88). In the modern era, when architects use digital media to represent their projects, the outcome

is closer to the one in Beaux-Arts drawing. By using digital models, the architects could play with texture and

colour, and they also demonstrated the use of light and shadow in the building. Modern architects have re-

turned to the obsession of creating beautiful perspective images.

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Figure 2 (left). Ivan Sutherland invented Sketchpad in 1961.Figure 3 (right). The first AutoCad pro-gram, released in 1984.

TheBenefitsofDigitalRepresentationinArchitecture

The aim of design representation is not about producing a stunning drawing, but more about the quali-

ties of three-dimensional space. In the past, architects used hand drawing, water or pencil colour to represent

their designs. However most of them failed to achieve the spatial qualities of architecture, as their drawings

were flat two-dimensional images like a painting. Nowadays, computer software facilitates the architects to

reach those qualities. By using a 3D modeling software (such as Rhino or 3D Studio Max), architects can

explore their ideas in three-dimensional form. Although still considered as an abstract model, a 3D computer

model can conceptually visualize its image rendering closely similar to its real form by using real volumes,

textures, and materials (Belibani & Gadola 1997).

Moreover, according to Antoine Picon, in his book Digital Culture of Architecture, “the most immediate

consequence of the use of the computer is without doubt the possibilities to manipulate complex geometries”

(2010, p. 10). The computer software can assist architects to exploit complex geometries, rather than simplify

them. There will be no more limitations in terms of form or shape. Folding, bending, or twisting forms, which

may be too difficult and complicated to be drawn using traditional hand drawing, could be made easily in the

digital software. The curve in Gehry’s Bilbao Museum perhaps may not, or even were impossible to, be rep-

resented using traditional methods of plan or elevation drawing. This advantage will give more opportunity to

architects to take their designs into a higher level.

Digital media also gives architects a more powerful visual language for communicating their design

concepts or proposals to third parties (clients), which may not be familiar with architecture. The visualization

of digital media overcomes the barrier of customary visual codes of traditional architectural drafting or draw-

ing (As & Schodek 2008, p. 133). While people still need a basic knowledge of architecture to understand the

orthographic drawing of a building, the digital representation uses a universal graphic language that is easy to

understand. Another reason is the emerging of computing technology in the popular realm, where digital media

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Figure 4. The metamorphosis of design representation, from Beaux Arts (left), Modernism (center), to current digital representation (right).

Figure 5. Gehry’s Guggenheim Museum in Bilbao

has become a common language in general public (Bermudez & Klinger 2003). Thus architects may find it

useful to use digital mediums or techniques in representing their projects to the public.

The Roles of Architects in the Digital Architecture

There is a common question regarding the emergence of digital architecture: Are architects in danger

of losing their job? If the program can automatically generate a complete project, do we still need architects?

Makoto Sei Watanabe explained the reason why architects are still important in an architectural project. He

said that architectural software cannot generate design or logic without human intervention; the final outcome

of a project is produced through a series of decisions made by the architects or designers (Watanabe 2002, p.

69). Without deep thinking by architects, a digital project is merely an interesting project. They will remain as

an exercise in architectural software and will never give a meaning to the viewer.

In the present, there are no architectural practices without digital technology. There is a fear that digital

technology will lead to the danger of narrow technological determinism (Picon 2010, p. 9). The architects will

rely so much in digital software to produce their work. The best solution to solve this dilemma is to perceive

software as a tool for architects. McCullough makes a good analogy between architectural softwares and a set

of pencils (1996, p. 59). There are range of pencils with different thickness and colour. The users have to know

how each pencil works so they know when they need to use it. The same principle applies to software: the

architects just have to use them appropriately. Just like a pencil that will never give the user a drawing idea, the

computer will also never directly provide architects a design concept; it will only help architects to inhabit their

task. So the best approach is to strategically use the software, and never let them interfere the architectural

intent.

“A tool does only what you tell it to do; it is never out of control” -Malcom McCullough- (1996, p. 78).

Conclusion

Digital media offers access for architects to explore the spatial qualities of architecture. By using digital

media, design representation is pushed to a new boundary. There will be no more projects that are too com-

plex or difficult to be represented. However, architects must not rely the whole thing on digital technologies,

because the purpose of digital representation is about communicating the idea, not making a bad design looks

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Figure 6. Diagram illustrate the properties of software tools

fancy. Architects have to understand that people is and will always be more interesting and talented than tech-

nology. Architectural software cannot generate their design automatically without a human creativity. At the end

of the day, computer software is only one of the many tools that architects could use to represent their project.

Architects just have to choose correct software for different purposes in order to assist their job.

“What actually constitutes architectural experience and presence- architecture or media?” -Hani Rashid-

(Flachbart 2005, p. 245)

Bibliography

Books

As, I & Schodek D 2008, Dynamic Digital Representations in Architecture: Visions in Motion, Taylor &

Francis, New York.

Bertol, D 1997, Designing Digital Space : an Architect’s Guide to Virtual Reality, Wiley, New York.

Flachbart, G 2005, Dissapearing Architecture: From Real to Virtual Quantum, Birkhauser, Basel.

McCullough, M 1996, Abstracting Craft: The Practiced Digital Hands, MIT Press, Mass.

Picon, A 2010, Digital Culture in Architecture: an Introduction for the Design Professions, Birkhauser,

Basel.

Watanabe MS 2001, Induction Design: a Method for Evolutionary Design, Birkhauser Verlag, Boston.

Whyte, J 2002, Virtual Reality and the Built Environment, Architectural, Oxford.

Journal Articles

Brian, M & Gardner, J 2008, ‘Cinemetrics: Embodying architectural representation in the digital age’,

Architectural theory review: journal of the Department of Architecture, the University of Sydney, vol. 13, no. 1,

pp. 29-51.

McCullough, M 2006, ’20 Years of Scripted Space’, Architectural Design, vol. 76, no. 4, pp. 12-15.

Perez-Gomez, A 2005, ‘Questions of representation: the poetic of origin architecture’, Arq: Architec-

tural Research Quarterly, vol. 9, no. 3-4, pp. 217-225.

Thompson, H 2008, ‘In Perspective’, Design Week, vol. 23, no.3, pp. 14-15.

Electronic Resources

Belibani, R & Gadola A , On Digital Architecture, Università di Roma “La Sapienza”, viewed 5 May

2011, <http://info.tuwien.ac.at/ecaade/proc/belibani/belibani.htm>.

Bermudez, J & Klinger, K (ed.) 2003, Digital Technology & Architecture, ACADIA, viewed 6 May 2011,

<http://www.acadia.org/ACADIA_whitepaper.pdf>.

Images

Fig. 1

http://www.suckerpunchdaily.com/wp-content/uploads/2010/11/doa-lg.jpg

Fig. 2

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http://design.osu.edu/carlson/history/images/ivan-sutherland.jpg

Fig. 3

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Fig. 4

http://www.gardenvisit.com/assets/madge/landscape_planning_beaux_arts_city_hall/600x/landscape_plan-

ning_beaux_arts_city_hall_600x.jpg

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Fig. 5

http://www.guggenheim.org/images/content/Affiliates/Bilbao/gmb_bilbao_690x235.jpg

Fig. 6

McCullough, M 1996, Abstracting Craft: The Practiced Digital Hands, MIT Press, Mass, p. 81

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